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Hop-Frog by Edgar Allan Poe

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I never knew anyone so keenly alive to a joke as the king was. He seemed to live only for joking. To tell a good story of the joke kind, and to tell it well, was the surest road to his favor. Thus it happened that his seven ministers were all noted for their accomplishments as jokers. They all took after the king, too, in being large, corpulent, oily men, as well as inimitable jokers. Whether people grow fat by joking, or whether there is something in fat itself which predisposes to a joke, I have never been quite able to determine; but certain it is that a lean joker is a rara avis in terris.

About the refinements, or, as he called them, the ‘ghost’ of wit, the king troubled himself very little. He had an especial admiration for breadth in a jest, and would often put up with length, for the sake of it. Over-niceties wearied him. He would have preferred Rabelais’ ‘Gargantua’ to the ‘Zadig’ of Voltaire: and, upon the whole, practical jokes suited his taste far better than verbal ones.

At the date of my narrative, professing jesters had not altogether gone out of fashion at court. Several of the great continental ‘powers’ still retain their ‘fools,’ who wore motley, with caps and bells, and who were expected to be always ready with sharp witticisms, at a moment’s notice, in consideration of the crumbs that fell from the royal table.

Our king, as a matter of course, retained his ‘fool.’ The fact is, he required something in the way of folly—if only to counterbalance the heavy wisdom of the seven wise men who were his ministers—not to mention himself.

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His fool, or professional jester, was not only a fool, however. His value was trebled in the eyes of the king, by the fact of his being also a dwarf and a cripple. Dwarfs were as common at court, in those days, as fools; and many monarchs would have found it difficult to get through their days (days are rather longer at court than elsewhere) without both a jester to laugh with, and a dwarf to laugh at. But, as I have already observed, your jesters, in ninety-nine cases out of a hundred, are fat, round, and unwieldy—so that it was no small source of self-gratulation with our king that, in Hop-Frog (this was the fool’s name), he possessed a triplicate treasure in one person.

“Poe’s Tales of Mystery and Imagination” (1935) Illustrated by Arthur Rackham

I believe the name ‘Hop-Frog’ was not that given to the dwarf by his sponsors at baptism, but it was conferred upon him, by general consent of the several ministers, on account of his inability to walk as other men do. In fact, Hop-Frog could only get along by a sort of interjectional gait—something between a leap and a wriggle—a movement that afforded illimitable amusement, and of course consolation, to the king, for (notwithstanding the protuberance of his stomach and a constitutional swelling of the head) the king, by his whole court, was accounted a capital figure.

But although Hop-Frog, through the distortion of his legs, could move only with great pain and difficulty along a road or floor, the prodigious muscular power which nature seemed to have bestowed upon his arms, by way of compensation for deficiency in the lower limbs, enabled him to perform many feats of wonderful dexterity, where trees or ropes were in question, or any thing else to climb. At such exercises he certainly much more resembled a squirrel, or a small monkey, than a frog.

I am not able to say, with precision, from what country Hop-Frog originally came. It was from some barbarous region, however, that no person ever heard of—a vast distance from the court of our king. Hop-Frog, and a young girl very little less dwarfish than himself (although of exquisite proportions, and a marvellous dancer), had been forcibly carried off from their respective homes in adjoining provinces, and sent as presents to the king, by one of his ever-victorious generals.

Under these circumstances, it is not to be wondered at that a close intimacy arose between the two little captives. Indeed, they soon became sworn friends. Hop-Frog, who, although he made a great deal of sport, was by no means popular, had it not in his power to render Trippetta many services; but she, on account of her grace and exquisite beauty (although a dwarf), was universally admired and petted; so she possessed much influence; and never failed to use it, whenever she could, for the benefit of Hop-Frog.

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On some grand state occasion—I forgot what—the king determined to have a masquerade, and whenever a masquerade or any thing of that kind, occurred at our court, then the talents, both of Hop-Frog and Trippetta were sure to be called into play. Hop-Frog, in especial, was so inventive in the way of getting up pageants, suggesting novel characters, and arranging costumes, for masked balls, that nothing could be done, it seems, without his assistance.

The night appointed for the fete had arrived. A gorgeous hall had been fitted up, under Trippetta’s eye, with every kind of device which could possibly give eclat to a masquerade. The whole court was in a fever of expectation. As for costumes and characters, it might well be supposed that everybody had come to a decision on such points. Many had made up their minds (as to what roles they should assume) a week, or even a month, in advance; and, in fact, there was not a particle of indecision anywhere—except in the case of the king and his seven minsters. Why they hesitated I never could tell, unless they did it by way of a joke. More probably, they found it difficult, on account of being so fat, to make up their minds. At all events, time flew; and, as a last resort they sent for Trippetta and Hop-Frog.

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When the two little friends obeyed the summons of the king they found him sitting at his wine with the seven members of his cabinet council; but the monarch appeared to be in a very ill humor. He knew that Hop-Frog was not fond of wine, for it excited the poor cripple almost to madness; and madness is no comfortable feeling. But the king loved his practical jokes, and took pleasure in forcing Hop-Frog to drink and (as the king called it) ‘to be merry.’

“Come here, Hop-Frog,” said he, as the jester and his friend entered the room; “swallow this bumper to the health of your absent friends, [here Hop-Frog sighed,] and then let us have the benefit of your invention. We want characters—characters, man—something novel—out of the way. We are wearied with this everlasting sameness. Come, drink! the wine will brighten your wits.”

Hop-Frog endeavored, as usual, to get up a jest in reply to these advances from the king; but the effort was too much. It happened to be the poor dwarf’s birthday, and the command to drink to his ‘absent friends’ forced the tears to his eyes. Many large, bitter drops fell into the goblet as he took it, humbly, from the hand of the tyrant.

“Ah! ha! ha!” roared the latter, as the dwarf reluctantly drained the beaker.—“See what a glass of good wine can do! Why, your eyes are shining already!”

Poor fellow! his large eyes gleamed, rather than shone; for the effect of wine on his excitable brain was not more powerful than instantaneous. He placed the goblet nervously on the table, and looked round upon the company with a half—insane stare. They all seemed highly amused at the success of the king’s ‘joke.’

“And now to business,” said the prime minister, a very fat man.

“Yes,” said the King; “Come lend us your assistance. Characters, my fine fellow; we stand in need of characters—all of us—ha! ha! ha!” and as this was seriously meant for a joke, his laugh was chorused by the seven.

Hop-Frog also laughed although feebly and somewhat vacantly.

“Come, come,” said the king, impatiently, “have you nothing to suggest?”

“Poe’s Tales of Mystery and Imagination” (1935) Illustrated by Arthur Rackham

“I am endeavoring to think of something novel,” replied the dwarf, abstractedly, for he was quite bewildered by the wine.

“Endeavoring!” cried the tyrant, fiercely; “what do you mean by that? Ah, I perceive. You are Sulky, and want more wine. Here, drink this!” and he poured out another goblet full and offered it to the cripple, who merely gazed at it, gasping for breath.

“Drink, I say!” shouted the monster, “or by the fiends-”

The dwarf hesitated. The king grew purple with rage. The courtiers smirked. Trippetta, pale as a corpse, advanced to the monarch’s seat, and, falling on her knees before him, implored him to spare her friend.

The tyrant regarded her, for some moments, in evident wonder at her audacity. He seemed quite at a loss what to do or say—how most becomingly to express his indignation. At last, without uttering a syllable, he pushed her violently from him, and threw the contents of the brimming goblet in her face.

The poor girl got up the best she could, and, not daring even to sigh, resumed her position at the foot of the table.

There was a dead silence for about half a minute, during which the falling of a leaf, or of a feather, might have been heard. It was interrupted by a low, but harsh and protracted grating sound which seemed to come at once from every corner of the room.

“What—what—what are you making that noise for?” demanded the king, turning furiously to the dwarf.

The latter seemed to have recovered, in great measure, from his intoxication, and looking fixedly but quietly into the tyrant’s face, merely ejaculated:

“I—I? How could it have been me?”

“The sound appeared to come from without,” observed one of the courtiers. “I fancy it was the parrot at the window, whetting his bill upon his cage-wires.”

“True,” replied the monarch, as if much relieved by the suggestion; “but, on the honor of a knight, I could have sworn that it was the gritting of this vagabond’s teeth.”

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Hereupon the dwarf laughed (the king was too confirmed a joker to object to any one’s laughing), and displayed a set of large, powerful, and very repulsive teeth. Moreover, he avowed his perfect willingness to swallow as much wine as desired. The monarch was pacified; and having drained another bumper with no very perceptible ill effect, Hop-Frog entered at once, and with spirit, into the plans for the masquerade.

“I cannot tell what was the association of idea,” observed he, very tranquilly, and as if he had never tasted wine in his life, “but just after your majesty, had struck the girl and thrown the wine in her face—just after your majesty had done this, and while the parrot was making that odd noise outside the window, there came into my mind a capital diversion—one of my own country frolics—often enacted among us, at our masquerades: but here it will be new altogether. Unfortunately, however, it requires a company of eight persons and-”

“Here we are!” cried the king, laughing at his acute discovery of the coincidence; “eight to a fraction—I and my seven ministers. Come! what is the diversion?”

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“We call it,” replied the cripple, “the Eight Chained Ourang-Outangs, and it really is excellent sport if well enacted.”

“We will enact it,” remarked the king, drawing himself up, and lowering his eyelids.

“The beauty of the game,” continued Hop-Frog, “lies in the fright it occasions among the women.”

“Capital!” roared in chorus the monarch and his ministry.

“I will equip you as ourang-outangs,” proceeded the dwarf; “leave all that to me. The resemblance shall be so striking, that the company of masqueraders will take you for real beasts—and of course, they will be as much terrified as astonished.”

“Oh, this is exquisite!” exclaimed the king. “Hop-Frog! I will make a man of you.”

“The chains are for the purpose of increasing the confusion by their jangling. You are supposed to have escaped, en masse, from your keepers. Your majesty cannot conceive the effect produced, at a masquerade, by eight chained ourang-outangs, imagined to be real ones by most of the company; and rushing in with savage cries, among the crowd of delicately and gorgeously habited men and women. The contrast is inimitable!”

“It must be,” said the king: and the council arose hurriedly (as it was growing late), to put in execution the scheme of Hop-Frog.

His mode of equipping the party as ourang-outangs was very simple, but effective enough for his purposes. The animals in question had, at the epoch of my story, very rarely been seen in any part of the civilized world; and as the imitations made by the dwarf were sufficiently beast-like and more than sufficiently hideous, their truthfulness to nature was thus thought to be secured.

The king and his ministers were first encased in tight-fitting stockinet shirts and drawers. They were then saturated with tar. At this stage of the process, some one of the party suggested feathers; but the suggestion was at once overruled by the dwarf, who soon convinced the eight, by ocular demonstration, that the hair of such a brute as the ourang-outang was much more efficiently represented by flu. A thick coating of the latter was accordingly plastered upon the coating of tar. A long chain was now procured. First, it was passed about the waist of the king, and tied, then about another of the party, and also tied; then about all successively, in the same manner. When this chaining arrangement was complete, and the party stood as far apart from each other as possible, they formed a circle; and to make all things appear natural, Hop-Frog passed the residue of the chain in two diameters, at right angles, across the circle, after the fashion adopted, at the present day, by those who capture Chimpanzees, or other large apes, in Borneo.

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The grand saloon in which the masquerade was to take place, was a circular room, very lofty, and receiving the light of the sun only through a single window at top. At night (the season for which the apartment was especially designed) it was illuminated principally by a large chandelier, depending by a chain from the centre of the sky-light, and lowered, or elevated, by means of a counter-balance as usual; but (in order not to look unsightly) this latter passed outside the cupola and over the roof.

The arrangements of the room had been left to Trippetta’s superintendence; but, in some particulars, it seems, she had been guided by the calmer judgment of her friend the dwarf. At his suggestion it was that, on this occasion, the chandelier was removed. Its waxen drippings (which, in weather so warm, it was quite impossible to prevent) would have been seriously detrimental to the rich dresses of the guests, who, on account of the crowded state of the saloon, could not all be expected to keep from out its centre; that is to say, from under the chandelier. Additional sconces were set in various parts of the hall, out of the war, and a flambeau, emitting sweet odor, was placed in the right hand of each of the Caryaides [Caryatides] that stood against the wall—some fifty or sixty altogether.

“Poe’s Tales of Mystery and Imagination” (1935) Illustrated by Arthur Rackham

The eight ourang-outangs, taking Hop-Frog’s advice, waited patiently until midnight (when the room was thoroughly filled with masqueraders) before making their appearance. No sooner had the clock ceased striking, however, than they rushed, or rather rolled in, all together—for the impediments of their chains caused most of the party to fall, and all to stumble as they entered.

The excitement among the masqueraders was prodigious, and filled the heart of the king with glee. As had been anticipated, there were not a few of the guests who supposed the ferocious-looking creatures to be beasts of some kind in reality, if not precisely ourang-outangs. Many of the women swooned with affright; and had not the king taken the precaution to exclude all weapons from the saloon, his party might soon have expiated their frolic in their blood. As it was, a general rush was made for the doors; but the king had ordered them to be locked immediately upon his entrance; and, at the dwarf’s suggestion, the keys had been deposited with him.

While the tumult was at its height, and each masquerader attentive only to his own safety (for, in fact, there was much real danger from the pressure of the excited crowd), the chain by which the chandelier ordinarily hung, and which had been drawn up on its removal, might have been seen very gradually to descend, until its hooked extremity came within three feet of the floor.

Soon after this, the king and his seven friends having reeled about the hall in all directions, found themselves, at length, in its centre, and, of course, in immediate contact with the chain. While they were thus situated, the dwarf, who had followed noiselessly at their heels, inciting them to keep up the commotion, took hold of their own chain at the intersection of the two portions which crossed the circle diametrically and at right angles. Here, with the rapidity of thought, he inserted the hook from which the chandelier had been wont to depend; and, in an instant, by some unseen agency, the chandelier-chain was drawn so far upward as to take the hook out of reach, and, as an inevitable consequence, to drag the ourang-outangs together in close connection, and face to face.

The masqueraders, by this time, had recovered, in some measure, from their alarm; and, beginning to regard the whole matter as a well-contrived pleasantry, set up a loud shout of laughter at the predicament of the apes.

“Leave them to me!” now screamed Hop-Frog, his shrill voice making itself easily heard through all the din. “Leave them to me. I fancy I know them. If I can only get a good look at them, I can soon tell who they are.”

Here, scrambling over the heads of the crowd, he managed to get to the wall; when, seizing a flambeau from one of the Caryatides, he returned, as he went, to the centre of the room-leaping, with the agility of a monkey, upon the kings head, and thence clambered a few feet up the chain; holding down the torch to examine the group of ourang-outangs, and still screaming: “I shall soon find out who they are!”

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And now, while the whole assembly (the apes included) were convulsed with laughter, the jester suddenly uttered a shrill whistle; when the chain flew violently up for about thirty feet—dragging with it the dismayed and struggling ourang-outangs, and leaving them suspended in mid-air between the sky-light and the floor. Hop-Frog, clinging to the chain as it rose, still maintained his relative position in respect to the eight maskers, and still (as if nothing were the matter) continued to thrust his torch down toward them, as though endeavoring to discover who they were.

So thoroughly astonished was the whole company at this ascent, that a dead silence, of about a minute’s duration, ensued. It was broken by just such a low, harsh, grating sound, as had before attracted the attention of the king and his councillors when the former threw the wine in the face of Trippetta. But, on the present occasion, there could be no question as to whence the sound issued. It came from the fang—like teeth of the dwarf, who ground them and gnashed them as he foamed at the mouth, and glared, with an expression of maniacal rage, into the upturned countenances of the king and his seven companions.

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“Ah, ha!” said at length the infuriated jester. “Ah, ha! I begin to see who these people are now!” Here, pretending to scrutinize the king more closely, he held the flambeau to the flaxen coat which enveloped him, and which instantly burst into a sheet of vivid flame. In less than half a minute the whole eight ourang-outangs were blazing fiercely, amid the shrieks of the multitude who gazed at them from below, horror-stricken, and without the power to render them the slightest assistance.

At length the flames, suddenly increasing in virulence, forced the jester to climb higher up the chain, to be out of their reach; and, as he made this movement, the crowd again sank, for a brief instant, into silence. The dwarf seized his opportunity, and once more spoke:

“I now see distinctly.” he said, “what manner of people these maskers are. They are a great king and his seven privy-councillors,—a king who does not scruple to strike a defenceless girl and his seven councillors who abet him in the outrage. As for myself, I am simply Hop-Frog, the jester—and this is my last jest.”

Owing to the high combustibility of both the flax and the tar to which it adhered, the dwarf had scarcely made an end of his brief speech before the work of vengeance was complete. The eight corpses swung in their chains, a fetid, blackened, hideous, and indistinguishable mass. The cripple hurled his torch at them, clambered leisurely to the ceiling, and disappeared through the sky-light.

It is supposed that Trippetta, stationed on the roof of the saloon, had been the accomplice of her friend in his fiery revenge, and that, together, they effected their escape to their own country: for neither was seen again.

Source: The Gutenberg project

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The Tell-Tale Heart by Edgar Allan Poe

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TRUE!—nervous—very, very dreadfully nervous I had been and am; but why will you say that I am mad? The disease had sharpened my senses—not destroyed—not dulled them. Above all was the sense of hearing acute. I heard all things in the heaven and in the earth. I heard many things in hell. How, then, am I mad? Hearken! and observe how healthily—how calmly I can tell you the whole story.

“Poe’s Tales of Mystery and Imagination” (1935) Illustrated by Arthur Rackham

It is impossible to say how first the idea entered my brain; but once conceived, it haunted me day and night. Object there was none. Passion there was none. I loved the old man. He had never wronged me. He had never given me insult. For his gold I had no desire. I think it was his eye! yes, it was this! He had the eye of a vulture—a pale blue eye, with a film over it. Whenever it fell upon me, my blood ran cold; and so by degrees—very gradually—I made up my mind to take the life of the old man, and thus rid myself of the eye forever.

Now this is the point. You fancy me mad. Madmen know nothing. But you should have seen me. You should have seen how wisely I proceeded—with what caution—with what foresight—with what dissimulation I went to work! I was never kinder to the old man than during the whole week before I killed him. And every night, about midnight, I turned the latch of his door and opened it—oh so gently! And then, when I had made an opening sufficient for my head, I put in a dark lantern, all closed, closed, that no light shone out, and then I thrust in my head. Oh, you would have laughed to see how cunningly I thrust it in! I moved it slowly—very, very slowly, so that I might not disturb the old man’s sleep. It took me an hour to place my whole head within the opening so far that I could see him as he lay upon his bed. Ha! would a madman have been so wise as this? And then, when my head was well in the room, I undid the lantern cautiously—oh, so cautiously—cautiously (for the hinges creaked)—I undid it just so much that a single thin ray fell upon the vulture eye. And this I did for seven long nights—every night just at midnight—but I found the eye always closed; and so it was impossible to do the work; for it was not the old man who vexed me, but his Evil Eye. And every morning, when the day broke, I went boldly into the chamber, and spoke courageously to him, calling him by name in a hearty tone, and inquiring how he has passed the night. So you see he would have been a very profound old man, indeed, to suspect that every night, just at twelve, I looked in upon him while he slept.

Upon the eighth night I was more than usually cautious in opening the door. A watch’s minute hand moves more quickly than did mine. Never before that night had I felt the extent of my own powers—of my sagacity. I could scarcely contain my feelings of triumph. To think that there I was, opening the door, little by little, and he not even to dream of my secret deeds or thoughts. I fairly chuckled at the idea; and perhaps he heard me; for he moved on the bed suddenly, as if startled. Now you may think that I drew back—but no. His room was as black as pitch with the thick darkness, (for the shutters were close fastened, through fear of robbers,) and so I knew that he could not see the opening of the door, and I kept pushing it on steadily, steadily.

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I had my head in, and was about to open the lantern, when my thumb slipped upon the tin fastening, and the old man sprang up in bed, crying out—“Who’s there?”

I kept quite still and said nothing. For a whole hour I did not move a muscle, and in the meantime I did not hear him lie down. He was still sitting up in the bed listening;—just as I have done, night after night, hearkening to the death watches in the wall.

He shrieked once – once only. (Illustration by Harry Clarke for Tales of Mystery and Imagination by Edgar Allan Poe.)

Presently I heard a slight groan, and I knew it was the groan of mortal terror. It was not a groan of pain or of grief—oh, no!—it was the low stifled sound that arises from the bottom of the soul when overcharged with awe. I knew the sound well. Many a night, just at midnight, when all the world slept, it has welled up from my own bosom, deepening, with its dreadful echo, the terrors that distracted me. I say I knew it well. I knew what the old man felt, and pitied him, although I chuckled at heart. I knew that he had been lying awake ever since the first slight noise, when he had turned in the bed. His fears had been ever since growing upon him. He had been trying to fancy them causeless, but could not. He had been saying to himself—“It is nothing but the wind in the chimney—it is only a mouse crossing the floor,” or “It is merely a cricket which has made a single chirp.” Yes, he had been trying to comfort himself with these suppositions: but he had found all in vain. All in vain; because Death, in approaching him had stalked with his black shadow before him, and enveloped the victim. And it was the mournful influence of the unperceived shadow that caused him to feel—although he neither saw nor heard—to feel the presence of my head within the room.

When I had waited a long time, very patiently, without hearing him lie down, I resolved to open a little—a very, very little crevice in the lantern. So I opened it—you cannot imagine how stealthily, stealthily—until, at length a simple dim ray, like the thread of the spider, shot from out the crevice and fell full upon the vulture eye.

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It was open—wide, wide open—and I grew furious as I gazed upon it. I saw it with perfect distinctness—all a dull blue, with a hideous veil over it that chilled the very marrow in my bones; but I could see nothing else of the old man’s face or person: for I had directed the ray as if by instinct, precisely upon the damned spot.

And have I not told you that what you mistake for madness is but over-acuteness of the sense?—now, I say, there came to my ears a low, dull, quick sound, such as a watch makes when enveloped in cotton. I knew that sound well, too. It was the beating of the old man’s heart. It increased my fury, as the beating of a drum stimulates the soldier into courage.

The Tell-Tale Heart, by Odilon Redon 1883

But even yet I refrained and kept still. I scarcely breathed. I held the lantern motionless. I tried how steadily I could maintain the ray upon the eve. Meantime the hellish tattoo of the heart increased. It grew quicker and quicker, and louder and louder every instant. The old man’s terror must have been extreme! It grew louder, I say, louder every moment!—do you mark me well I have told you that I am nervous: so I am. And now at the dead hour of the night, amid the dreadful silence of that old house, so strange a noise as this excited me to uncontrollable terror. Yet, for some minutes longer I refrained and stood still. But the beating grew louder, louder! I thought the heart must burst. And now a new anxiety seized me—the sound would be heard by a neighbour! The old man’s hour had come! With a loud yell, I threw open the lantern and leaped into the room. He shrieked once—once only. In an instant I dragged him to the floor, and pulled the heavy bed over him. I then smiled gaily, to find the deed so far done. But, for many minutes, the heart beat on with a muffled sound. This, however, did not vex me; it would not be heard through the wall. At length it ceased. The old man was dead. I removed the bed and examined the corpse. Yes, he was stone, stone dead. I placed my hand upon the heart and held it there many minutes. There was no pulsation. He was stone dead. His eye would trouble me no more.

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If still you think me mad, you will think so no longer when I describe the wise precautions I took for the concealment of the body. The night waned, and I worked hastily, but in silence. First of all I dismembered the corpse. I cut off the head and the arms and the legs.

I then took up three planks from the flooring of the chamber, and deposited all between the scantlings. I then replaced the boards so cleverly, so cunningly, that no human eye—not even his—could have detected any thing wrong. There was nothing to wash out—no stain of any kind—no blood-spot whatever. I had been too wary for that. A tub had caught all—ha! ha!

When I had made an end of these labors, it was four o’clock—still dark as midnight. As the bell sounded the hour, there came a knocking at the street door. I went down to open it with a light heart,—for what had I now to fear? There entered three men, who introduced themselves, with perfect suavity, as officers of the police. A shriek had been heard by a neighbour during the night; suspicion of foul play had been aroused; information had been lodged at the police office, and they (the officers) had been deputed to search the premises.

Harry Clarke

I smiled,—for what had I to fear? I bade the gentlemen welcome. The shriek, I said, was my own in a dream. The old man, I mentioned, was absent in the country. I took my visitors all over the house. I bade them search—search well. I led them, at length, to his chamber. I showed them his treasures, secure, undisturbed. In the enthusiasm of my confidence, I brought chairs into the room, and desired them here to rest from their fatigues, while I myself, in the wild audacity of my perfect triumph, placed my own seat upon the very spot beneath which reposed the corpse of the victim.

The officers were satisfied. My manner had convinced them. I was singularly at ease. They sat, and while I answered cheerily, they chatted of familiar things. But, ere long, I felt myself getting pale and wished them gone. My head ached, and I fancied a ringing in my ears: but still they sat and still chatted. The ringing became more distinct:—It continued and became more distinct: I talked more freely to get rid of the feeling: but it continued and gained definiteness—until, at length, I found that the noise was not within my ears.

No doubt I now grew very pale;—but I talked more fluently, and with a heightened voice. Yet the sound increased—and what could I do? It was a low, dull, quick sound—much such a sound as a watch makes when enveloped in cotton. I gasped for breath—and yet the officers heard it not. I talked more quickly—more vehemently; but the noise steadily increased. I arose and argued about trifles, in a high key and with violent gesticulations; but the noise steadily increased. Why would they not be gone? I paced the floor to and fro with heavy strides, as if excited to fury by the observations of the men—but the noise steadily increased. Oh God! what could I do? I foamed—I raved—I swore! I swung the chair upon which I had been sitting, and grated it upon the boards, but the noise arose over all and continually increased. It grew louder—louder—louder! And still the men chatted pleasantly, and smiled. Was it possible they heard not? Almighty God!—no, no! They heard!—they suspected!—they knew!—they were making a mockery of my horror!-this I thought, and this I think. But anything was better than this agony! Anything was more tolerable than this derision! I could bear those hypocritical smiles no longer! I felt that I must scream or die! and now—again!—hark! louder! louder! louder! louder!

“Villains!” I shrieked, “dissemble no more! I admit the deed!—tear up the planks! here, here!—It is the beating of his hideous heart!”

Source: The Gutenberg project

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The Oval Portrait by Edgar Allan Poe

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The chateau into which my valet had ventured to make forcible entrance, rather than permit me, in my desperately wounded condition, to pass a night in the open air, was one of those piles of commingled gloom and grandeur which have so long frowned among the Appenines, not less in fact than in the fancy of Mrs. Radcliffe. To all appearance it had been temporarily and very lately abandoned. We established ourselves in one of the smallest and least sumptuously furnished apartments. It lay in a remote turret of the building. Its decorations were rich, yet tattered and antique. Its walls were hung with tapestry and bedecked with manifold and multiform armorial trophies, together with an unusually great number of very spirited modern paintings in frames of rich golden arabesque. In these paintings, which depended from the walls not only in their main surfaces, but in very many nooks which the bizarre architecture of the chateau rendered necessary—in these paintings my incipient delirium, perhaps, had caused me to take deep interest; so that I bade Pedro to close the heavy shutters of the room—since it was already night—to light the tongues of a tall candelabrum which stood by the head of my bed—and to throw open far and wide the fringed curtains of black velvet which enveloped the bed itself. I wished all this done that I might resign myself, if not to sleep, at least alternately to the contemplation of these pictures, and the perusal of a small volume which had been found upon the pillow, and which purported to criticise and describe them.

Arthur Rackham’s illustrations – Poe’s Tales of Mystery and Imagination: The Oval Portrait

Long—long I read—and devoutly, devoutedly I gazed. Rapidly and gloriously the hours flew by, and the deep midnight came. The position of the candelabrum displeased me, and outreaching my hand with difficulty, rather than disturb my slumbering valet, I placed it so as to throw its rays more fully upon the book.

But the action produced an effect altogether unanticipated. The rays of the numerous candles (for there were many) now fell within a niche of the room which had hitherto been thrown into deep shade by one of the bed-posts. I thus saw in vivid light a picture all unnoticed before. It was the portrait of a young girl just ripening into womanhood. I glanced at the painting hurriedly, and then closed my eyes. Why I did this was not at first apparent even to my own perception. But while my lids remained thus shut, I ran over in mind my reason for so shutting them. It was an impulsive movement to gain time for thought—to make sure that my vision had not deceived me—to calm and subdue my fancy for a more sober and more certain gaze. In a very few moments I again looked fixedly at the painting.

That I now saw aright I could not and would not doubt; for the first flashing of the candles upon that canvass had seemed to dissipate the dreamy stupor which was stealing over my senses, and to startle me at once into waking life.

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The portrait, I have already said, was that of a young girl. It was a mere head and shoulders, done in what is technically termed a vignette manner; much in the style of the favorite heads of Sully. The arms, the bosom and even the ends of the radiant hair, melted imperceptibly into the vague yet deep shadow which formed the back ground of the whole. The frame was oval, richly gilded and filagreed in Moresque. As a thing of art nothing could be more admirable than the painting itself. But it could have been neither the execution of the work, nor the immortal beauty of the countenance, which had so suddenly and so vehemently moved me. Least of all, could it have been that my fancy, shaken from its half slumber, had mistaken the head for that of a living person. I saw at once that the peculiarities of the design, of the vignetting, and of the frame, must have instantly dispelled such idea—must have prevented even its momentary entertainment. Thinking earnestly upon these points, I remained, for an hour perhaps, half sitting, half reclining, with my vision riveted upon the portrait. At length, satisfied with the true secret of its effect, I fell back within the bed. I had found the spell of the picture in an absolute life-likeliness of expression, which, at first startling, finally confounded, subdued and appalled me. With deep and reverent awe I replaced the candelabrum in its former position. The cause of my deep agitation being thus shut from view, I sought eagerly the volume which discussed the paintings and their histories. Turning to the number which designated the oval portrait, I there read the vague and quaint words which follow:

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Paintings by Jean-Paul Laurens: The Oval Portrait

“She was a maiden of rarest beauty, and not more lovely than full of glee. And evil was the hour when she saw, and loved, and wedded the painter. He, passionate, studious, austere, and having already a bride in his Art; she a maiden of rarest beauty, and not more lovely than full of glee: all light and smiles, and frolicksome as the young fawn: loving and cherishing all things: hating only the Art which was her rival: dreading only the pallet and brushes and other untoward instruments which deprived her of the countenance of her lover. It was thus a terrible thing for this lady to hear the painter speak of his desire to portray even his young bride. But she was humble and obedient, and sat meekly for many weeks in the dark high turret-chamber where the light dripped upon the pale canvass only from overhead. But he, the painter, took glory in his work, which went on from hour to hour, and from day to day. And he was a passionate, and wild, and moody man, who became lost in reveries; so that he would not see that the light which fell so ghastlily in that lone turret withered the health and the spirits of his bride, who pined visibly to all but him. Yet she smiled on and still on, uncomplainingly, because she saw that the painter, (who had high renown,) took a fervid and burning pleasure in his task, and wrought day and night to depict her who so loved him, yet who grew daily more dispirited and weak. And in sooth some who beheld the portrait spoke of its resemblance in low words, as of a mighty marvel, and a proof not less of the power of the painter than of his deep love for her whom he depicted so surpassingly well. But at length, as the labor drew nearer to its conclusion, there were admitted none into the turret; for the painter had grown wild with the ardor of his work, and turned his eyes from the canvass rarely, even to regard the countenance of his wife. And he would not see that the tints which he spread upon the canvass were drawn from the cheeks of her who sat beside him. And when many weeks had passed, and but little remained to do, save one brush upon the mouth and one tint upon the eye, the spirit of the lady again flickered up as the flame within the socket of the lamp. And then the brush was given, and then the tint was placed; and, for one moment, the painter stood entranced before the work which he had wrought; but in the next, while he yet gazed, he grew tremulous and very pallid, and aghast, and crying with a loud voice, ‘This is indeed Life itself!’ turned suddenly to regard his beloved:—She was dead!

Source: The Gutenberg project

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The Man of the Crowd by Edgar Allan Poe

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Ce grand malheur, de ne pouvoir être seul.
La Bruyère
.

IT was well said of a certain German book that “er lasst sich nicht lesen”—it does not permit itself to be read. There are some secrets which do not permit themselves to be told. Men die nightly in their beds, wringing the hands of ghostly confessors and looking them piteously in the eyes—die with despair of heart and convulsion of throat, on account of the hideousness of mysteries which will not suffer themselves to be revealed. Now and then, alas, the conscience of man takes up a burthen so heavy in horror that it can be thrown down only into the grave. And thus the essence of all crime is undivulged.

Not long ago, about the closing in of an evening in autumn, I sat at the large bow window of the D——- Coffee-House in London. For some months I had been ill in health, but was now convalescent, and, with returning strength, found myself in one of those happy moods which are so precisely the converse of ennui—moods of the keenest appetency, when the film from the mental vision departs—the [Greek phrase]—and the intellect, electrified, surpasses as greatly its every-day condition, as does the vivid yet candid reason of Leibnitz, the mad and flimsy rhetoric of Gorgias. Merely to breathe was enjoyment; and I derived positive pleasure even from many of the legitimate sources of pain. I felt a calm but inquisitive interest in every thing. With a cigar in my mouth and a newspaper in my lap, I had been amusing myself for the greater part of the afternoon, now in poring over advertisements, now in observing the promiscuous company in the room, and now in peering through the smoky panes into the street.

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This latter is one of the principal thoroughfares of the city, and had been very much crowded during the whole day. But, as the darkness came on, the throng momently increased; and, by the time the lamps were well lighted, two dense and continuous tides of population were rushing past the door. At this particular period of the evening I had never before been in a similar situation, and the tumultuous sea of human heads filled me, therefore, with a delicious novelty of emotion. I gave up, at length, all care of things within the hotel, and became absorbed in contemplation of the scene without.

Illustration for Edgar Allan Poe’s story “The Man of the Crowd” by Harry Clarke (1889-1931), first printed in 1923.

At first my observations took an abstract and generalizing turn. I looked at the passengers in masses, and thought of them in their aggregate relations. Soon, however, I descended to details, and regarded with minute interest the innumerable varieties of figure, dress, air, gait, visage, and expression of countenance.

By far the greater number of those who went by had a satisfied business-like demeanor, and seemed to be thinking only of making their way through the press. Their brows were knit, and their eyes rolled quickly; when pushed against by fellow-wayfarers they evinced no symptom of impatience, but adjusted their clothes and hurried on. Others, still a numerous class, were restless in their movements, had flushed faces, and talked and gesticulated to themselves, as if feeling in solitude on account of the very denseness of the company around. When impeded in their progress, these people suddenly ceased muttering, but re-doubled their gesticulations, and awaited, with an absent and overdone smile upon the lips, the course of the persons impeding them. If jostled, they bowed profusely to the jostlers, and appeared overwhelmed with confusion.—There was nothing very distinctive about these two large classes beyond what I have noted. Their habiliments belonged to that order which is pointedly termed the decent. They were undoubtedly noblemen, merchants, attorneys, tradesmen, stock-jobbers—the Eupatrids and the common-places of society—men of leisure and men actively engaged in affairs of their own—conducting business upon their own responsibility. They did not greatly excite my attention.

The tribe of clerks was an obvious one and here I discerned two remarkable divisions. There were the junior clerks of flash houses—young gentlemen with tight coats, bright boots, well-oiled hair, and supercilious lips. Setting aside a certain dapperness of carriage, which may be termed deskism for want of a better word, the manner of these persons seemed to me an exact fac-simile of what had been the perfection of bon ton about twelve or eighteen months before. They wore the cast-off graces of the gentry;—and this, I believe, involves the best definition of the class.

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The division of the upper clerks of staunch firms, or of the “steady old fellows,” it was not possible to mistake. These were known by their coats and pantaloons of black or brown, made to sit comfortably, with white cravats and waistcoats, broad solid-looking shoes, and thick hose or gaiters.—They had all slightly bald heads, from which the right ears, long used to pen-holding, had an odd habit of standing off on end. I observed that they always removed or settled their hats with both hands, and wore watches, with short gold chains of a substantial and ancient pattern. Theirs was the affectation of respectability;—if indeed there be an affectation so honorable.

There were many individuals of dashing appearance, whom I easily understood as belonging to the race of swell pick-pockets with which all great cities are infested. I watched these gentry with much inquisitiveness, and found it difficult to imagine how they should ever be mistaken for gentlemen by gentlemen themselves. Their voluminousness of wristband, with an air of excessive frankness, should betray them at once.

The gamblers, of whom I descried not a few, were still more easily recognisable. They wore every variety of dress, from that of the desperate thimble-rig bully, with velvet waistcoat, fancy neckerchief, gilt chains, and filagreed buttons, to that of the scrupulously inornate clergyman, than which nothing could be less liable to suspicion. Still all were distinguished by a certain sodden swarthiness of complexion, a filmy dimness of eye, and pallor and compression of lip. There were two other traits, moreover, by which I could always detect them;—a guarded lowness of tone in conversation, and a more than ordinary extension of the thumb in a direction at right angles with the fingers.—Very often, in company with these sharpers, I observed an order of men somewhat different in habits, but still birds of a kindred feather. They may be defined as the gentlemen who live by their wits. They seem to prey upon the public in two battalions—that of the dandies and that of the military men. Of the first grade the leading features are long locks and smiles; of the second frogged coats and frowns.

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Descending in the scale of what is termed gentility, I found darker and deeper themes for speculation. I saw Jew pedlars, with hawk eyes flashing from countenances whose every other feature wore only an expression of abject humility; sturdy professional street beggars scowling upon mendicants of a better stamp, whom despair alone had driven forth into the night for charity; feeble and ghastly invalids, upon whom death had placed a sure hand, and who sidled and tottered through the mob, looking every one beseechingly in the face, as if in search of some chance consolation, some lost hope; modest young girls returning from long and late labor to a cheerless home, and shrinking more tearfully than indignantly from the glances of ruffians, whose direct contact, even, could not be avoided; women of the town of all kinds and of all ages—the unequivocal beauty in the prime of her womanhood, putting one in mind of the statue in Lucian, with the surface of Parian marble, and the interior filled with filth—the loathsome and utterly lost leper in rags—the wrinkled, bejewelled and paint-begrimed beldame, making a last effort at youth—the mere child of immature form, yet, from long association, an adept in the dreadful coquetries of her trade, and burning with a rabid ambition to be ranked the equal of her elders in vice; drunkards innumerable and indescribable—some in shreds and patches, reeling, inarticulate, with bruised visage and lack-lustre eyes—some in whole although filthy garments, with a slightly unsteady swagger, thick sensual lips, and hearty-looking rubicund faces—others clothed in materials which had once been good, and which even now were scrupulously well brushed—men who walked with a more than naturally firm and springy step, but whose countenances were fearfully pale, whose eyes hideously wild and red, and who clutched with quivering fingers, as they strode through the crowd, at every object which came within their reach; beside these, pie-men, porters, coal—heavers, sweeps; organ-grinders, monkey-exhibiters and ballad mongers, those who vended with those who sang; ragged artizans and exhausted laborers of every description, and all full of a noisy and inordinate vivacity which jarred discordantly upon the ear, and gave an aching sensation to the eye.

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As the night deepened, so deepened to me the interest of the scene; for not only did the general character of the crowd materially alter (its gentler features retiring in the gradual withdrawal of the more orderly portion of the people, and its harsher ones coming out into bolder relief, as the late hour brought forth every species of infamy from its den,) but the rays of the gas-lamps, feeble at first in their struggle with the dying day, had now at length gained ascendancy, and threw over every thing a fitful and garish lustre. All was dark yet splendid—as that ebony to which has been likened the style of Tertullian.

The wild effects of the light enchained me to an examination of individual faces; and although the rapidity with which the world of light flitted before the window, prevented me from casting more than a glance upon each visage, still it seemed that, in my then peculiar mental state, I could frequently read, even in that brief interval of a glance, the history of long years.

Illustration for Edgar Allan Poe’s story “The Man of the Crowd” by Harry Clarke (1889-1931), first printed in 1923.

With my brow to the glass, I was thus occupied in scrutinizing the mob, when suddenly there came into view a countenance (that of a decrepid old man, some sixty-five or seventy years of age,)—a countenance which at once arrested and absorbed my whole attention, on account of the absolute idiosyncrasy of its expression. Any thing even remotely resembling that expression I had never seen before. I well remember that my first thought, upon beholding it, was that Retzch, had he viewed it, would have greatly preferred it to his own pictural incarnations of the fiend. As I endeavored, during the brief minute of my original survey, to form some analysis of the meaning conveyed, there arose confusedly and paradoxically within my mind, the ideas of vast mental power, of caution, of penuriousness, of avarice, of coolness, of malice, of blood thirstiness, of triumph, of merriment, of excessive terror, of intense—of supreme despair. I felt singularly aroused, startled, fascinated. “How wild a history,” I said to myself, “is written within that bosom!” Then came a craving desire to keep the man in view—to know more of him. Hurriedly putting on an overcoat, and seizing my hat and cane, I made my way into the street, and pushed through the crowd in the direction which I had seen him take; for he had already disappeared. With some little difficulty I at length came within sight of him, approached, and followed him closely, yet cautiously, so as not to attract his attention.

I had now a good opportunity of examining his person. He was short in stature, very thin, and apparently very feeble. His clothes, generally, were filthy and ragged; but as he came, now and then, within the strong glare of a lamp, I perceived that his linen, although dirty, was of beautiful texture; and my vision deceived me, or, through a rent in a closely-buttoned and evidently second-handed roquelaire which enveloped him, I caught a glimpse both of a diamond and of a dagger. These observations heightened my curiosity, and I resolved to follow the stranger whithersoever he should go.

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It was now fully night-fall, and a thick humid fog hung over the city, soon ending in a settled and heavy rain. This change of weather had an odd effect upon the crowd, the whole of which was at once put into new commotion, and overshadowed by a world of umbrellas. The waver, the jostle, and the hum increased in a tenfold degree. For my own part I did not much regard the rain—the lurking of an old fever in my system rendering the moisture somewhat too dangerously pleasant. Tying a handkerchief about my mouth, I kept on. For half an hour the old man held his way with difficulty along the great thoroughfare; and I here walked close at his elbow through fear of losing sight of him. Never once turning his head to look back, he did not observe me. By and bye he passed into a cross street, which, although densely filled with people, was not quite so much thronged as the main one he had quitted. Here a change in his demeanor became evident. He walked more slowly and with less object than before—more hesitatingly. He crossed and re-crossed the way repeatedly without apparent aim; and the press was still so thick that, at every such movement, I was obliged to follow him closely. The street was a narrow and long one, and his course lay within it for nearly an hour, during which the passengers had gradually diminished to about that number which is ordinarily seen at noon in Broadway near the Park—so vast a difference is there between a London populace and that of the most frequented American city. A second turn brought us into a square, brilliantly lighted, and overflowing with life. The old manner of the stranger re-appeared. His chin fell upon his breast, while his eyes rolled wildly from under his knit brows, in every direction, upon those who hemmed him in. He urged his way steadily and perseveringly. I was surprised, however, to find, upon his having made the circuit of the square, that he turned and retraced his steps. Still more was I astonished to see him repeat the same walk several times—once nearly detecting me as he came round with a sudden movement.

In this exercise he spent another hour, at the end of which we met with far less interruption from passengers than at first. The rain fell fast; the air grew cool; and the people were retiring to their homes. With a gesture of impatience, the wanderer passed into a bye-street comparatively deserted. Down this, some quarter of a mile long, he rushed with an activity I could not have dreamed of seeing in one so aged, and which put me to much trouble in pursuit. A few minutes brought us to a large and busy bazaar, with the localities of which the stranger appeared well acquainted, and where his original demeanor again became apparent, as he forced his way to and fro, without aim, among the host of buyers and sellers.

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During the hour and a half, or thereabouts, which we passed in this place, it required much caution on my part to keep him within reach without attracting his observation. Luckily I wore a pair of caoutchouc over-shoes, and could move about in perfect silence. At no moment did he see that I watched him. He entered shop after shop, priced nothing, spoke no word, and looked at all objects with a wild and vacant stare. I was now utterly amazed at his behavior, and firmly resolved that we should not part until I had satisfied myself in some measure respecting him.

A loud-toned clock struck eleven, and the company were fast deserting the bazaar. A shop-keeper, in putting up a shutter, jostled the old man, and at the instant I saw a strong shudder come over his frame. He hurried into the street, looked anxiously around him for an instant, and then ran with incredible swiftness through many crooked and people-less lanes, until we emerged once more upon the great thoroughfare whence we had started—the street of the D—— Hotel. It no longer wore, however, the same aspect. It was still brilliant with gas; but the rain fell fiercely, and there were few persons to be seen. The stranger grew pale. He walked moodily some paces up the once populous avenue, then, with a heavy sigh, turned in the direction of the river, and, plunging through a great variety of devious ways, came out, at length, in view of one of the principal theatres. It was about being closed, and the audience were thronging from the doors. I saw the old man gasp as if for breath while he threw himself amid the crowd; but I thought that the intense agony of his countenance had, in some measure, abated. His head again fell upon his breast; he appeared as I had seen him at first. I observed that he now took the course in which had gone the greater number of the audience—but, upon the whole, I was at a loss to comprehend the waywardness of his actions.

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As he proceeded, the company grew more scattered, and his old uneasiness and vacillation were resumed. For some time he followed closely a party of some ten or twelve roisterers; but from this number one by one dropped off, until three only remained together, in a narrow and gloomy lane little frequented. The stranger paused, and, for a moment, seemed lost in thought; then, with every mark of agitation, pursued rapidly a route which brought us to the verge of the city, amid regions very different from those we had hitherto traversed. It was the most noisome quarter of London, where every thing wore the worst impress of the most deplorable poverty, and of the most desperate crime. By the dim light of an accidental lamp, tall, antique, worm-eaten, wooden tenements were seen tottering to their fall, in directions so many and capricious that scarce the semblance of a passage was discernible between them. The paving-stones lay at random, displaced from their beds by the rankly-growing grass. Horrible filth festered in the dammed-up gutters. The whole atmosphere teemed with desolation. Yet, as we proceeded, the sounds of human life revived by sure degrees, and at length large bands of the most abandoned of a London populace were seen reeling to and fro. The spirits of the old man again flickered up, as a lamp which is near its death hour. Once more he strode onward with elastic tread. Suddenly a corner was turned, a blaze of light burst upon our sight, and we stood before one of the huge suburban temples of Intemperance—one of the palaces of the fiend, Gin.

It was now nearly day-break; but a number of wretched inebriates still pressed in and out of the flaunting entrance. With a half shriek of joy the old man forced a passage within, resumed at once his original bearing, and stalked backward and forward, without apparent object, among the throng. He had not been thus long occupied, however, before a rush to the doors gave token that the host was closing them for the night. It was something even more intense than despair that I then observed upon the countenance of the singular being whom I had watched so pertinaciously. Yet he did not hesitate in his career, but, with a mad energy, retraced his steps at once, to the heart of the mighty London. Long and swiftly he fled, while I followed him in the wildest amazement, resolute not to abandon a scrutiny in which I now felt an interest all-absorbing. The sun arose while we proceeded, and, when we had once again reached that most thronged mart of the populous town, the street of the D——- Hotel, it presented an appearance of human bustle and activity scarcely inferior to what I had seen on the evening before. And here, long, amid the momently increasing confusion, did I persist in my pursuit of the stranger. But, as usual, he walked to and fro, and during the day did not pass from out the turmoil of that street. And, as the shades of the second evening came on, I grew wearied unto death, and, stopping fully in front of the wanderer, gazed at him steadfastly in the face. He noticed me not, but resumed his solemn walk, while I, ceasing to follow, remained absorbed in contemplation. “This old man,” I said at length, “is the type and the genius of deep crime. He refuses to be alone. [page 228:] He is the man of the crowd. It will be in vain to follow; for I shall learn no more of him, nor of his deeds. The worst heart of the world is a grosser book than the ‘Hortulus Animæ,’ {*1} and perhaps it is but one of the great mercies of God that ‘er lasst sich nicht lesen.’”

Source: The Gutenberg project

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William Wilson by Edgar Allan Poe

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What say of it? what say of CONSCIENCE grim,
That spectre in my path?
Chamberlayne’s Pharronida.

LET me call myself, for the present, William Wilson. The fair page now lying before me need not be sullied with my real appellation. This has been already too much an object for the scorn—for the horror—for the detestation of my race. To the uttermost regions of the globe have not the indignant winds bruited its unparalleled infamy? Oh, outcast of all outcasts most abandoned!—to the earth art thou not forever dead? to its honors, to its flowers, to its golden aspirations?—and a cloud, dense, dismal, and limitless, does it not hang eternally between thy hopes and heaven?

I would not, if I could, here or to-day, embody a record of my later years of unspeakable misery, and unpardonable crime. This epoch—these later years—took unto themselves a sudden elevation in turpitude, whose origin alone it is my present purpose to assign. Men usually grow base by degrees. From me, in an instant, all virtue dropped bodily as a mantle. From comparatively trivial wickedness I passed, with the stride of a giant, into more than the enormities of an Elah-Gabalus. What chance—what one event brought this evil thing to pass, bear with me while I relate. Death approaches; and the shadow which foreruns him has thrown a softening influence over my spirit. I long, in passing through the dim valley, for the sympathy—I had nearly said for the pity—of my fellow men. I would fain have them believe that I have been, in some measure, the slave of circumstances beyond human control. I would wish them to seek out for me, in the details I am about to give, some little oasis of fatality amid a wilderness of error. I would have them allow—what they cannot refrain from allowing—that, although temptation may have erewhile existed as great, man was never thus, at least, tempted before—certainly, never thus fell. And is it therefore that he has never thus suffered? Have I not indeed been living in a dream? And am I not now dying a victim to the horror and the mystery of the wildest of all sublunary visions?

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I am the descendant of a race whose imaginative and easily excitable temperament has at all times rendered them remarkable; and, in my earliest infancy, I gave evidence of having fully inherited the family character. As I advanced in years it was more strongly developed; becoming, for many reasons, a cause of serious disquietude to my friends, and of positive injury to myself. I grew self-willed, addicted to the wildest caprices, and a prey to the most ungovernable passions. Weak-minded, and beset with constitutional infirmities akin to my own, my parents could do but little to check the evil propensities which distinguished me. Some feeble and ill-directed efforts resulted in complete failure on their part, and, of course, in total triumph on mine. Thenceforward my voice was a household law; and at an age when few children have abandoned their leading-strings, I was left to the guidance of my own will, and became, in all but name, the master of my own actions.

Byam Shaw’s illustration for Poe’s William Wilson in “Selected Tales of Mystery” (London : Sidgwick & Jackson, 1909)

My earliest recollections of a school-life, are connected with a large, rambling, Elizabethan house, in a misty-looking village of England, where were a vast number of gigantic and gnarled trees, and where all the houses were excessively ancient. In truth, it was a dream-like and spirit-soothing place, that venerable old town. At this moment, in fancy, I feel the refreshing chilliness of its deeply-shadowed avenues, inhale the fragrance of its thousand shrubberies, and thrill anew with undefinable delight, at the deep hollow note of the church-bell, breaking, each hour, with sullen and sudden roar, upon the stillness of the dusky atmosphere in which the fretted Gothic steeple lay imbedded and asleep.

It gives me, perhaps, as much of pleasure as I can now in any manner experience, to dwell upon minute recollections of the school and its concerns. Steeped in misery as I am—misery, alas! only too real—I shall be pardoned for seeking relief, however slight and temporary, in the weakness of a few rambling details. These, moreover, utterly trivial, and even ridiculous in themselves, assume, to my fancy, adventitious importance, as connected with a period and a locality when and where I recognise the first ambiguous monitions of the destiny which afterwards so fully overshadowed me. Let me then remember.

The house, I have said, was old and irregular. The grounds were extensive, and a high and solid brick wall, topped with a bed of mortar and broken glass, encompassed the whole. This prison-like rampart formed the limit of our domain; beyond it we saw but thrice a week—once every Saturday afternoon, when, attended by two ushers, we were permitted to take brief walks in a body through some of the neighbouring fields—and twice during Sunday, when we were paraded in the same formal manner to the morning and evening service in the one church of the village. Of this church the principal of our school was pastor. With how deep a spirit of wonder and perplexity was I wont to regard him from our remote pew in the gallery, as, with step solemn and slow, he ascended the pulpit! This reverend man, with countenance so demurely benign, with robes so glossy and so clerically flowing, with wig so minutely powdered, so rigid and so vast,—-could this be he who, of late, with sour visage, and in snuffy habiliments, administered, ferule in hand, the Draconian laws of the academy? Oh, gigantic paradox, too utterly monstrous for solution!

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At an angle of the ponderous wall frowned a more ponderous gate. It was riveted and studded with iron bolts, and surmounted with jagged iron spikes. What impressions of deep awe did it inspire! It was never opened save for the three periodical egressions and ingressions already mentioned; then, in every creak of its mighty hinges, we found a plenitude of mystery—a world of matter for solemn remark, or for more solemn meditation.

The extensive enclosure was irregular in form, having many capacious recesses. Of these, three or four of the largest constituted the play-ground. It was level, and covered with fine hard gravel. I well remember it had no trees, nor benches, nor anything similar within it. Of course it was in the rear of the house. In front lay a small parterre, planted with box and other shrubs; but through this sacred division we passed only upon rare occasions indeed—such as a first advent to school or final departure thence, or perhaps, when a parent or friend having called for us, we joyfully took our way home for the Christmas or Midsummer holy-days.

But the house!—how quaint an old building was this!—to me how veritably a palace of enchantment! There was really no end to its windings—to its incomprehensible subdivisions. It was difficult, at any given time, to say with certainty upon which of its two stories one happened to be. From each room to every other there were sure to be found three or four steps either in ascent or descent. Then the lateral branches were innumerable—inconceivable—and so returning in upon themselves, that our most exact ideas in regard to the whole mansion were not very far different from those with which we pondered upon infinity. During the five years of my residence here, I was never able to ascertain with precision, in what remote locality lay the little sleeping apartment assigned to myself and some eighteen or twenty other scholars.

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The school-room was the largest in the house—I could not help thinking, in the world. It was very long, narrow, and dismally low, with pointed Gothic windows and a ceiling of oak. In a remote and terror-inspiring angle was a square enclosure of eight or ten feet, comprising the sanctum, “during hours,” of our principal, the Reverend Dr. Bransby. It was a solid structure, with massy door, sooner than open which in the absence of the “Dominic,” we would all have willingly perished by the peine forte et dure. In other angles were two other similar boxes, far less reverenced, indeed, but still greatly matters of awe. One of these was the pulpit of the “classical” usher, one of the “English and mathematical.” Interspersed about the room, crossing and recrossing in endless irregularity, were innumerable benches and desks, black, ancient, and time-worn, piled desperately with much-bethumbed books, and so beseamed with initial letters, names at full length, grotesque figures, and other multiplied efforts of the knife, as to have entirely lost what little of original form might have been their portion in days long departed. A huge bucket with water stood at one extremity of the room, and a clock of stupendous dimensions at the other.

Encompassed by the massy walls of this venerable academy, I passed, yet not in tedium or disgust, the years of the third lustrum of my life. The teeming brain of childhood requires no external world of incident to occupy or amuse it; and the apparently dismal monotony of a school was replete with more intense excitement than my riper youth has derived from luxury, or my full manhood from crime. Yet I must believe that my first mental development had in it much of the uncommon—even much of the outre. Upon mankind at large the events of very early existence rarely leave in mature age any definite impression. All is gray shadow—a weak and irregular remembrance—an indistinct regathering of feeble pleasures and phantasmagoric pains. With me this is not so. In childhood I must have felt with the energy of a man what I now find stamped upon memory in lines as vivid, as deep, and as durable as the exergues of the Carthaginian medals.

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Yet in fact—in the fact of the world’s view—how little was there to remember! The morning’s awakening, the nightly summons to bed; the connings, the recitations; the periodical half-holidays, and perambulations; the play-ground, with its broils, its pastimes, its intrigues;—these, by a mental sorcery long forgotten, were made to involve a wilderness of sensation, a world of rich incident, an universe of varied emotion, of excitement the most passionate and spirit-stirring. “Oh, le bon temps, que ce siecle de fer!”

In truth, the ardor, the enthusiasm, and the imperiousness of my disposition, soon rendered me a marked character among my schoolmates, and by slow, but natural gradations, gave me an ascendancy over all not greatly older than myself;—over all with a single exception. This exception was found in the person of a scholar, who, although no relation, bore the same Christian and surname as myself;—a circumstance, in fact, little remarkable; for, notwithstanding a noble descent, mine was one of those everyday appellations which seem, by prescriptive right, to have been, time out of mind, the common property of the mob. In this narrative I have therefore designated myself as William Wilson,—a fictitious title not very dissimilar to the real. My namesake alone, of those who in school phraseology constituted “our set,” presumed to compete with me in the studies of the class—in the sports and broils of the play-ground—to refuse implicit belief in my assertions, and submission to my will—indeed, to interfere with my arbitrary dictation in any respect whatsoever. If there is on earth a supreme and unqualified despotism, it is the despotism of a master mind in boyhood over the less energetic spirits of its companions.

Byam Shaw’s illustration for Poe’s William Wilson in “Selected Tales of Mystery” (London : Sidgwick & Jackson, 1909)

Wilson’s rebellion was to me a source of the greatest embarrassment;—the more so as, in spite of the bravado with which in public I made a point of treating him and his pretensions, I secretly felt that I feared him, and could not help thinking the equality which he maintained so easily with myself, a proof of his true superiority; since not to be overcome cost me a perpetual struggle. Yet this superiority—even this equality—was in truth acknowledged by no one but myself; our associates, by some unaccountable blindness, seemed not even to suspect it. Indeed, his competition, his resistance, and especially his impertinent and dogged interference with my purposes, were not more pointed than private. He appeared to be destitute alike of the ambition which urged, and of the passionate energy of mind which enabled me to excel. In his rivalry he might have been supposed actuated solely by a whimsical desire to thwart, astonish, or mortify myself; although there were times when I could not help observing, with a feeling made up of wonder, abasement, and pique, that he mingled with his injuries, his insults, or his contradictions, a certain most inappropriate, and assuredly most unwelcome affectionateness of manner. I could only conceive this singular behavior to arise from a consummate self-conceit assuming the vulgar airs of patronage and protection.

Perhaps it was this latter trait in Wilson’s conduct, conjoined with our identity of name, and the mere accident of our having entered the school upon the same day, which set afloat the notion that we were brothers, among the senior classes in the academy. These do not usually inquire with much strictness into the affairs of their juniors. I have before said, or should have said, that Wilson was not, in the most remote degree, connected with my family. But assuredly if we had been brothers we must have been twins; for, after leaving Dr. Bransby’s, I casually learned that my namesake was born on the nineteenth of January, 1813—and this is a somewhat remarkable coincidence; for the day is precisely that of my own nativity.

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It may seem strange that in spite of the continual anxiety occasioned me by the rivalry of Wilson, and his intolerable spirit of contradiction, I could not bring myself to hate him altogether. We had, to be sure, nearly every day a quarrel in which, yielding me publicly the palm of victory, he, in some manner, contrived to make me feel that it was he who had deserved it; yet a sense of pride on my part, and a veritable dignity on his own, kept us always upon what are called “speaking terms,” while there were many points of strong congeniality in our tempers, operating to awake me in a sentiment which our position alone, perhaps, prevented from ripening into friendship. It is difficult, indeed, to define, or even to describe, my real feelings towards him. They formed a motley and heterogeneous admixture;—some petulant animosity, which was not yet hatred, some esteem, more respect, much fear, with a world of uneasy curiosity. To the moralist it will be unnecessary to say, in addition, that Wilson and myself were the most inseparable of companions.

It was no doubt the anomalous state of affairs existing between us, which turned all my attacks upon him, (and they were many, either open or covert) into the channel of banter or practical joke (giving pain while assuming the aspect of mere fun) rather than into a more serious and determined hostility. But my endeavours on this head were by no means uniformly successful, even when my plans were the most wittily concocted; for my namesake had much about him, in character, of that unassuming and quiet austerity which, while enjoying the poignancy of its own jokes, has no heel of Achilles in itself, and absolutely refuses to be laughed at. I could find, indeed, but one vulnerable point, and that, lying in a personal peculiarity, arising, perhaps, from constitutional disease, would have been spared by any antagonist less at his wit’s end than myself;—my rival had a weakness in the faucal or guttural organs, which precluded him from raising his voice at any time above a very low whisper. Of this defect I did not fail to take what poor advantage lay in my power.

Wilson’s retaliations in kind were many; and there was one form of his practical wit that disturbed me beyond measure. How his sagacity first discovered at all that so petty a thing would vex me, is a question I never could solve; but, having discovered, he habitually practised the annoyance. I had always felt aversion to my uncourtly patronymic, and its very common, if not plebeian praenomen. The words were venom in my ears; and when, upon the day of my arrival, a second William Wilson came also to the academy, I felt angry with him for bearing the name, and doubly disgusted with the name because a stranger bore it, who would be the cause of its twofold repetition, who would be constantly in my presence, and whose concerns, in the ordinary routine of the school business, must inevitably, on account of the detestable coincidence, be often confounded with my own.

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The feeling of vexation thus engendered grew stronger with every circumstance tending to show resemblance, moral or physical, between my rival and myself. I had not then discovered the remarkable fact that we were of the same age; but I saw that we were of the same height, and I perceived that we were even singularly alike in general contour of person and outline of feature. I was galled, too, by the rumor touching a relationship, which had grown current in the upper forms. In a word, nothing could more seriously disturb me, (although I scrupulously concealed such disturbance,) than any allusion to a similarity of mind, person, or condition existing between us. But, in truth, I had no reason to believe that (with the exception of the matter of relationship, and in the case of Wilson himself,) this similarity had ever been made a subject of comment, or even observed at all by our schoolfellows. That he observed it in all its bearings, and as fixedly as I, was apparent; but that he could discover in such circumstances so fruitful a field of annoyance, can only be attributed, as I said before, to his more than ordinary penetration.

His cue, which was to perfect an imitation of myself, lay both in words and in actions; and most admirably did he play his part. My dress it was an easy matter to copy; my gait and general manner were, without difficulty, appropriated; in spite of his constitutional defect, even my voice did not escape him. My louder tones were, of course, unattempted, but then the key, it was identical; and his singular whisper, it grew the very echo of my own.

How greatly this most exquisite portraiture harassed me, (for it could not justly be termed a caricature,) I will not now venture to describe. I had but one consolation—in the fact that the imitation, apparently, was noticed by myself alone, and that I had to endure only the knowing and strangely sarcastic smiles of my namesake himself. Satisfied with having produced in my bosom the intended effect, he seemed to chuckle in secret over the sting he had inflicted, and was characteristically disregardful of the public applause which the success of his witty endeavours might have so easily elicited. That the school, indeed, did not feel his design, perceive its accomplishment, and participate in his sneer, was, for many anxious months, a riddle I could not resolve. Perhaps the gradation of his copy rendered it not so readily perceptible; or, more possibly, I owed my security to the master air of the copyist, who, disdaining the letter, (which in a painting is all the obtuse can see,) gave but the full spirit of his original for my individual contemplation and chagrin.

I have already more than once spoken of the disgusting air of patronage which he assumed toward me, and of his frequent officious interference with my will. This interference often took the ungracious character of advice; advice not openly given, but hinted or insinuated. I received it with a repugnance which gained strength as I grew in years. Yet, at this distant day, let me do him the simple justice to acknowledge that I can recall no occasion when the suggestions of my rival were on the side of those errors or follies so usual to his immature age and seeming inexperience; that his moral sense, at least, if not his general talents and worldly wisdom, was far keener than my own; and that I might, to-day, have been a better, and thus a happier man, had I less frequently rejected the counsels embodied in those meaning whispers which I then but too cordially hated and too bitterly despised.

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As it was, I at length grew restive in the extreme under his distasteful supervision, and daily resented more and more openly what I considered his intolerable arrogance. I have said that, in the first years of our connexion as schoolmates, my feelings in regard to him might have been easily ripened into friendship: but, in the latter months of my residence at the academy, although the intrusion of his ordinary manner had, beyond doubt, in some measure, abated, my sentiments, in nearly similar proportion, partook very much of positive hatred. Upon one occasion he saw this, I think, and afterwards avoided, or made a show of avoiding me.

It was about the same period, if I remember aright, that, in an altercation of violence with him, in which he was more than usually thrown off his guard, and spoke and acted with an openness of demeanor rather foreign to his nature, I discovered, or fancied I discovered, in his accent, his air, and general appearance, a something which first startled, and then deeply interested me, by bringing to mind dim visions of my earliest infancy—wild, confused and thronging memories of a time when memory herself was yet unborn. I cannot better describe the sensation which oppressed me than by saying that I could with difficulty shake off the belief of my having been acquainted with the being who stood before me, at some epoch very long ago—some point of the past even infinitely remote. The delusion, however, faded rapidly as it came; and I mention it at all but to define the day of the last conversation I there held with my singular namesake.

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The huge old house, with its countless subdivisions, had several large chambers communicating with each other, where slept the greater number of the students. There were, however, (as must necessarily happen in a building so awkwardly planned,) many little nooks or recesses, the odds and ends of the structure; and these the economic ingenuity of Dr. Bransby had also fitted up as dormitories; although, being the merest closets, they were capable of accommodating but a single individual. One of these small apartments was occupied by Wilson.

One night, about the close of my fifth year at the school, and immediately after the altercation just mentioned, finding every one wrapped in sleep, I arose from bed, and, lamp in hand, stole through a wilderness of narrow passages from my own bedroom to that of my rival. I had long been plotting one of those ill-natured pieces of practical wit at his expense in which I had hitherto been so uniformly unsuccessful. It was my intention, now, to put my scheme in operation, and I resolved to make him feel the whole extent of the malice with which I was imbued. Having reached his closet, I noiselessly entered, leaving the lamp, with a shade over it, on the outside. I advanced a step, and listened to the sound of his tranquil breathing. Assured of his being asleep, I returned, took the light, and with it again approached the bed. Close curtains were around it, which, in the prosecution of my plan, I slowly and quietly withdrew, when the bright rays fell vividly upon the sleeper, and my eyes, at the same moment, upon his countenance. I looked;—and a numbness, an iciness of feeling instantly pervaded my frame. My breast heaved, my knees tottered, my whole spirit became possessed with an objectless yet intolerable horror. Gasping for breath, I lowered the lamp in still nearer proximity to the face. Were these—these the lineaments of William Wilson? I saw, indeed, that they were his, but I shook as if with a fit of the ague in fancying they were not. What was there about them to confound me in this manner? I gazed;—while my brain reeled with a multitude of incoherent thoughts. Not thus he appeared—assuredly not thus—in the vivacity of his waking hours. The same name! the same contour of person! the same day of arrival at the academy! And then his dogged and meaningless imitation of my gait, my voice, my habits, and my manner! Was it, in truth, within the bounds of human possibility, that what I now saw was the result, merely, of the habitual practice of this sarcastic imitation? Awe-stricken, and with a creeping shudder, I extinguished the lamp, passed silently from the chamber, and left, at once, the halls of that old academy, never to enter them again.

After a lapse of some months, spent at home in mere idleness, I found myself a student at Eton. The brief interval had been sufficient to enfeeble my remembrance of the events at Dr. Bransby’s, or at least to effect a material change in the nature of the feelings with which I remembered them. The truth—the tragedy—of the drama was no more. I could now find room to doubt the evidence of my senses; and seldom called up the subject at all but with wonder at extent of human credulity, and a smile at the vivid force of the imagination which I hereditarily possessed. Neither was this species of scepticism likely to be diminished by the character of the life I led at Eton. The vortex of thoughtless folly into which I there so immediately and so recklessly plunged, washed away all but the froth of my past hours, engulfed at once every solid or serious impression, and left to memory only the veriest levities of a former existence.

I do not wish, however, to trace the course of my miserable profligacy here—a profligacy which set at defiance the laws, while it eluded the vigilance of the institution. Three years of folly, passed without profit, had but given me rooted habits of vice, and added, in a somewhat unusual degree, to my bodily stature, when, after a week of soulless dissipation, I invited a small party of the most dissolute students to a secret carousal in my chambers. We met at a late hour of the night; for our debaucheries were to be faithfully protracted until morning. The wine flowed freely, and there were not wanting other and perhaps more dangerous seductions; so that the gray dawn had already faintly appeared in the east, while our delirious extravagance was at its height. Madly flushed with cards and intoxication, I was in the act of insisting upon a toast of more than wonted profanity, when my attention was suddenly diverted by the violent, although partial unclosing of the door of the apartment, and by the eager voice of a servant from without. He said that some person, apparently in great haste, demanded to speak with me in the hall.

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Wildly excited with wine, the unexpected interruption rather delighted than surprised me. I staggered forward at once, and a few steps brought me to the vestibule of the building. In this low and small room there hung no lamp; and now no light at all was admitted, save that of the exceedingly feeble dawn which made its way through the semi-circular window. As I put my foot over the threshold, I became aware of the figure of a youth about my own height, and habited in a white kerseymere morning frock, cut in the novel fashion of the one I myself wore at the moment. This the faint light enabled me to perceive; but the features of his face I could not distinguish. Upon my entering he strode hurriedly up to me, and, seizing me by the arm with a gesture of petulant impatience, whispered the words “William Wilson!” in my ear.

I grew perfectly sober in an instant. There was that in the manner of the stranger, and in the tremulous shake of his uplifted finger, as he held it between my eyes and the light, which filled me with unqualified amazement; but it was not this which had so violently moved me. It was the pregnancy of solemn admonition in the singular, low, hissing utterance; and, above all, it was the character, the tone, the key, of those few, simple, and familiar, yet whispered syllables, which came with a thousand thronging memories of bygone days, and struck upon my soul with the shock of a galvanic battery. Ere I could recover the use of my senses he was gone.

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Although this event failed not of a vivid effect upon my disordered imagination, yet was it evanescent as vivid. For some weeks, indeed, I busied myself in earnest inquiry, or was wrapped in a cloud of morbid speculation. I did not pretend to disguise from my perception the identity of the singular individual who thus perseveringly interfered with my affairs, and harassed me with his insinuated counsel. But who and what was this Wilson?—and whence came he?—and what were his purposes? Upon neither of these points could I be satisfied; merely ascertaining, in regard to him, that a sudden accident in his family had caused his removal from Dr. Bransby’s academy on the afternoon of the day in which I myself had eloped. But in a brief period I ceased to think upon the subject; my attention being all absorbed in a contemplated departure for Oxford. Thither I soon went; the uncalculating vanity of my parents furnishing me with an outfit and annual establishment, which would enable me to indulge at will in the luxury already so dear to my heart,—to vie in profuseness of expenditure with the haughtiest heirs of the wealthiest earldoms in Great Britain.

Excited by such appliances to vice, my constitutional temperament broke forth with redoubled ardor, and I spurned even the common restraints of decency in the mad infatuation of my revels. But it were absurd to pause in the detail of my extravagance. Let it suffice, that among spendthrifts I out-Heroded Herod, and that, giving name to a multitude of novel follies, I added no brief appendix to the long catalogue of vices then usual in the most dissolute university of Europe.

It could hardly be credited, however, that I had, even here, so utterly fallen from the gentlemanly estate, as to seek acquaintance with the vilest arts of the gambler by profession, and, having become an adept in his despicable science, to practise it habitually as a means of increasing my already enormous income at the expense of the weak-minded among my fellow-collegians. Such, nevertheless, was the fact. And the very enormity of this offence against all manly and honourable sentiment proved, beyond doubt, the main if not the sole reason of the impunity with which it was committed. Who, indeed, among my most abandoned associates, would not rather have disputed the clearest evidence of his senses, than have suspected of such courses, the gay, the frank, the generous William Wilson—the noblest and most liberal commoner at Oxford—him whose follies (said his parasites) were but the follies of youth and unbridled fancy—whose errors but inimitable whim—whose darkest vice but a careless and dashing extravagance?

I had been now two years successfully busied in this way, when there came to the university a young parvenu nobleman, Glendinning—rich, said report, as Herodes Atticus—his riches, too, as easily acquired. I soon found him of weak intellect, and, of course, marked him as a fitting subject for my skill. I frequently engaged him in play, and contrived, with the gambler’s usual art, to let him win considerable sums, the more effectually to entangle him in my snares. At length, my schemes being ripe, I met him (with the full intention that this meeting should be final and decisive) at the chambers of a fellow-commoner, (Mr. Preston,) equally intimate with both, but who, to do him Justice, entertained not even a remote suspicion of my design. To give to this a better colouring, I had contrived to have assembled a party of some eight or ten, and was solicitously careful that the introduction of cards should appear accidental, and originate in the proposal of my contemplated dupe himself. To be brief upon a vile topic, none of the low finesse was omitted, so customary upon similar occasions that it is a just matter for wonder how any are still found so besotted as to fall its victim.

We had protracted our sitting far into the night, and I had at length effected the manoeuvre of getting Glendinning as my sole antagonist. The game, too, was my favorite ecarte! The rest of the company, interested in the extent of our play, had abandoned their own cards, and were standing around us as spectators. The parvenu, who had been induced by my artifices in the early part of the evening, to drink deeply, now shuffled, dealt, or played, with a wild nervousness of manner for which his intoxication, I thought, might partially, but could not altogether account. In a very short period he had become my debtor to a large amount, when, having taken a long draught of port, he did precisely what I had been coolly anticipating—he proposed to double our already extravagant stakes. With a well-feigned show of reluctance, and not until after my repeated refusal had seduced him into some angry words which gave a color of pique to my compliance, did I finally comply. The result, of course, did but prove how entirely the prey was in my toils; in less than an hour he had quadrupled his debt. For some time his countenance had been losing the florid tinge lent it by the wine; but now, to my astonishment, I perceived that it had grown to a pallor truly fearful. I say to my astonishment. Glendinning had been represented to my eager inquiries as immeasurably wealthy; and the sums which he had as yet lost, although in themselves vast, could not, I supposed, very seriously annoy, much less so violently affect him. That he was overcome by the wine just swallowed, was the idea which most readily presented itself; and, rather with a view to the preservation of my own character in the eyes of my associates, than from any less interested motive, I was about to insist, peremptorily, upon a discontinuance of the play, when some expressions at my elbow from among the company, and an ejaculation evincing utter despair on the part of Glendinning, gave me to understand that I had effected his total ruin under circumstances which, rendering him an object for the pity of all, should have protected him from the ill offices even of a fiend.

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What now might have been my conduct it is difficult to say. The pitiable condition of my dupe had thrown an air of embarrassed gloom over all; and, for some moments, a profound silence was maintained, during which I could not help feeling my cheeks tingle with the many burning glances of scorn or reproach cast upon me by the less abandoned of the party. I will even own that an intolerable weight of anxiety was for a brief instant lifted from my bosom by the sudden and extraordinary interruption which ensued. The wide, heavy folding doors of the apartment were all at once thrown open, to their full extent, with a vigorous and rushing impetuosity that extinguished, as if by magic, every candle in the room. Their light, in dying, enabled us just to perceive that a stranger had entered, about my own height, and closely muffled in a cloak. The darkness, however, was now total; and we could only feel that he was standing in our midst. Before any one of us could recover from the extreme astonishment into which this rudeness had thrown all, we heard the voice of the intruder.

“Gentlemen,” he said, in a low, distinct, and never-to-be-forgotten whisper which thrilled to the very marrow of my bones, “Gentlemen, I make no apology for this behaviour, because in thus behaving, I am but fulfilling a duty. You are, beyond doubt, uninformed of the true character of the person who has to-night won at ecarte a large sum of money from Lord Glendinning. I will therefore put you upon an expeditious and decisive plan of obtaining this very necessary information. Please to examine, at your leisure, the inner linings of the cuff of his left sleeve, and the several little packages which may be found in the somewhat capacious pockets of his embroidered morning wrapper.”

While he spoke, so profound was the stillness that one might have heard a pin drop upon the floor. In ceasing, he departed at once, and as abruptly as he had entered. Can I—shall I describe my sensations?—must I say that I felt all the horrors of the damned? Most assuredly I had little time given for reflection. Many hands roughly seized me upon the spot, and lights were immediately reprocured. A search ensued. In the lining of my sleeve were found all the court cards essential in ecarte, and, in the pockets of my wrapper, a number of packs, facsimiles of those used at our sittings, with the single exception that mine were of the species called, technically, arrondees; the honours being slightly convex at the ends, the lower cards slightly convex at the sides. In this disposition, the dupe who cuts, as customary, at the length of the pack, will invariably find that he cuts his antagonist an honor; while the gambler, cutting at the breadth, will, as certainly, cut nothing for his victim which may count in the records of the game.

Any burst of indignation upon this discovery would have affected me less than the silent contempt, or the sarcastic composure, with which it was received.

“Mr. Wilson,” said our host, stooping to remove from beneath his feet an exceedingly luxurious cloak of rare furs, “Mr. Wilson, this is your property.” (The weather was cold; and, upon quitting my own room, I had thrown a cloak over my dressing wrapper, putting it off upon reaching the scene of play.) “I presume it is supererogatory to seek here (eyeing the folds of the garment with a bitter smile) for any farther evidence of your skill. Indeed, we have had enough. You will see the necessity, I hope, of quitting Oxford—at all events, of quitting instantly my chambers.”

Abased, humbled to the dust as I then was, it is probable that I should have resented this galling language by immediate personal violence, had not my whole attention been at the moment arrested by a fact of the most startling character. The cloak which I had worn was of a rare description of fur; how rare, how extravagantly costly, I shall not venture to say. Its fashion, too, was of my own fantastic invention; for I was fastidious to an absurd degree of coxcombry, in matters of this frivolous nature. When, therefore, Mr. Preston reached me that which he had picked up upon the floor, and near the folding doors of the apartment, it was with an astonishment nearly bordering upon terror, that I perceived my own already hanging on my arm, (where I had no doubt unwittingly placed it,) and that the one presented me was but its exact counterpart in every, in even the minutest possible particular. The singular being who had so disastrously exposed me, had been muffled, I remembered, in a cloak; and none had been worn at all by any of the members of our party with the exception of myself. Retaining some presence of mind, I took the one offered me by Preston; placed it, unnoticed, over my own; left the apartment with a resolute scowl of defiance; and, next morning ere dawn of day, commenced a hurried journey from Oxford to the continent, in a perfect agony of horror and of shame.

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I fled in vain. My evil destiny pursued me as if in exultation, and proved, indeed, that the exercise of its mysterious dominion had as yet only begun. Scarcely had I set foot in Paris ere I had fresh evidence of the detestable interest taken by this Wilson in my concerns. Years flew, while I experienced no relief. Villain!—at Rome, with how untimely, yet with how spectral an officiousness, stepped he in between me and my ambition! At Vienna, too—at Berlin—and at Moscow! Where, in truth, had I not bitter cause to curse him within my heart? From his inscrutable tyranny did I at length flee, panic-stricken, as from a pestilence; and to the very ends of the earth I fled in vain.

And again, and again, in secret communion with my own spirit, would I demand the questions “Who is he?—whence came he?—and what are his objects?” But no answer was there found. And then I scrutinized, with a minute scrutiny, the forms, and the methods, and the leading traits of his impertinent supervision. But even here there was very little upon which to base a conjecture. It was noticeable, indeed, that, in no one of the multiplied instances in which he had of late crossed my path, had he so crossed it except to frustrate those schemes, or to disturb those actions, which, if fully carried out, might have resulted in bitter mischief. Poor justification this, in truth, for an authority so imperiously assumed! Poor indemnity for natural rights of self-agency so pertinaciously, so insultingly denied!

I had also been forced to notice that my tormentor, for a very long period of time, (while scrupulously and with miraculous dexterity maintaining his whim of an identity of apparel with myself,) had so contrived it, in the execution of his varied interference with my will, that I saw not, at any moment, the features of his face. Be Wilson what he might, this, at least, was but the veriest of affectation, or of folly. Could he, for an instant, have supposed that, in my admonisher at Eton—in the destroyer of my honor at Oxford,—in him who thwarted my ambition at Rome, my revenge at Paris, my passionate love at Naples, or what he falsely termed my avarice in Egypt,—that in this, my arch-enemy and evil genius, could fail to recognise the William Wilson of my school boy days,—the namesake, the companion, the rival,—the hated and dreaded rival at Dr. Bransby’s? Impossible!—But let me hasten to the last eventful scene of the drama.

Thus far I had succumbed supinely to this imperious domination. The sentiment of deep awe with which I habitually regarded the elevated character, the majestic wisdom, the apparent omnipresence and omnipotence of Wilson, added to a feeling of even terror, with which certain other traits in his nature and assumptions inspired me, had operated, hitherto, to impress me with an idea of my own utter weakness and helplessness, and to suggest an implicit, although bitterly reluctant submission to his arbitrary will. But, of late days, I had given myself up entirely to wine; and its maddening influence upon my hereditary temper rendered me more and more impatient of control. I began to murmur,—to hesitate,—to resist. And was it only fancy which induced me to believe that, with the increase of my own firmness, that of my tormentor underwent a proportional diminution? Be this as it may, I now began to feel the inspiration of a burning hope, and at length nurtured in my secret thoughts a stern and desperate resolution that I would submit no longer to be enslaved.

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It was at Rome, during the Carnival of 18—, that I attended a masquerade in the palazzo of the Neapolitan Duke Di Broglio. I had indulged more freely than usual in the excesses of the wine-table; and now the suffocating atmosphere of the crowded rooms irritated me beyond endurance. The difficulty, too, of forcing my way through the mazes of the company contributed not a little to the ruffling of my temper; for I was anxiously seeking, (let me not say with what unworthy motive) the young, the gay, the beautiful wife of the aged and doting Di Broglio. With a too unscrupulous confidence she had previously communicated to me the secret of the costume in which she would be habited, and now, having caught a glimpse of her person, I was hurrying to make my way into her presence.—At this moment I felt a light hand placed upon my shoulder, and that ever-remembered, low, damnable whisper within my ear.

In an absolute phrenzy of wrath, I turned at once upon him who had thus interrupted me, and seized him violently by the collar. He was attired, as I had expected, in a costume altogether similar to my own; wearing a Spanish cloak of blue velvet, begirt about the waist with a crimson belt sustaining a rapier. A mask of black silk entirely covered his face.

“Scoundrel!” I said, in a voice husky with rage, while every syllable I uttered seemed as new fuel to my fury, “scoundrel! impostor! accursed villain! you shall not—you shall not dog me unto death! Follow me, or I stab you where you stand!”—and I broke my way from the ball-room into a small ante-chamber adjoining—dragging him unresistingly with me as I went.

Upon entering, I thrust him furiously from me. He staggered against the wall, while I closed the door with an oath, and commanded him to draw. He hesitated but for an instant; then, with a slight sigh, drew in silence, and put himself upon his defence.

The contest was brief indeed. I was frantic with every species of wild excitement, and felt within my single arm the energy and power of a multitude. In a few seconds I forced him by sheer strength against the wainscoting, and thus, getting him at mercy, plunged my sword, with brute ferocity, repeatedly through and through his bosom.

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At that instant some person tried the latch of the door. I hastened to prevent an intrusion, and then immediately returned to my dying antagonist. But what human language can adequately portray that astonishment, that horror which possessed me at the spectacle then presented to view? The brief moment in which I averted my eyes had been sufficient to produce, apparently, a material change in the arrangements at the upper or farther end of the room. A large mirror,—so at first it seemed to me in my confusion—now stood where none had been perceptible before; and, as I stepped up to it in extremity of terror, mine own image, but with features all pale and dabbled in blood, advanced to meet me with a feeble and tottering gait.

Thus it appeared, I say, but was not. It was my antagonist—it was Wilson, who then stood before me in the agonies of his dissolution. His mask and cloak lay, where he had thrown them, upon the floor. Not a thread in all his raiment—not a line in all the marked and singular lineaments of his face which was not, even in the most absolute identity, mine own!

It was Wilson; but he spoke no longer in a whisper, and I could have fancied that I myself was speaking while he said:

“You have conquered, and I yield. Yet, henceforward art thou also dead—dead to the World, to Heaven and to Hope! In me didst thou exist—and, in my death, see by this image, which is thine own, how utterly thou hast murdered thyself.”

Source: The Gutenberg project

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Shadow – a Parable by Edgar Allan Poe

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Yea, though I walk through the valley of the Shadow:
Psalm of David.

YE who read are still among the living; but I who write shall have long since gone my way into the region of shadows. For indeed strange things shall happen, and secret things be known, and many centuries shall pass away, ere these memorials be seen of men. And, when seen, there will be some to disbelieve, and some to doubt, and yet a few who will find much to ponder upon in the characters here graven with a stylus of iron.

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The year had been a year of terror, and of feelings more intense than terror for which there is no name upon the earth. For many prodigies and signs had taken place, and far and wide, over sea and land, the black wings of the Pestilence were spread abroad. To those, nevertheless, cunning in the stars, it was not unknown that the heavens wore an aspect of ill; and to me, the Greek Oinos, among others, it was evident that now had arrived the alternation of that seven hundred and ninety-fourth year when, at the entrance of Aries, the planet Jupiter is conjoined with the red ring of the terrible Saturnus. The peculiar spirit of the skies, if I mistake not greatly, made itself manifest, not only in the physical orb of the earth, but in the souls, imaginations, and meditations of mankind.

Gustave Doré’s illustration for Edgar Allan Poe’s The Raven, accompanies the phrase “And my soul from out that shadow that lies floating on the floor/Shall be lifted–nevermore!”

Over some flasks of the red Chian wine, within the walls of a noble hall, in a dim city called Ptolemais, we sat, at night, a company of seven. And to our chamber there was no entrance save by a lofty door of brass: and the door was fashioned by the artisan Corinnos, and, being of rare workmanship, was fastened from within. Black draperies, likewise, in the gloomy room, shut out from our view the moon, the lurid stars, and the peopleless streets- but the boding and the memory of Evil they would not be so excluded. There were things around us and about of which I can render no distinct account- things material and spiritual- heaviness in the atmosphere- a sense of suffocation- anxiety- and, above all, that terrible state of existence which the nervous experience when the senses are keenly living and awake, and meanwhile the powers of thought lie dormant. A dead weight hung upon us. It hung upon our limbs- upon the household furniture- upon the goblets from which we drank; and all things were depressed, and borne down thereby- all things save only the flames of the seven lamps which illumined our revel. Uprearing themselves in tall slender lines of light, they thus remained burning all pallid and motionless; and in the mirror which their lustre formed upon the round table of ebony at which we sat, each of us there assembled beheld the pallor of his own countenance, and the unquiet glare in the downcast eyes of his companions. Yet we laughed and were merry in our proper way- which was hysterical; and sang the songs of Anacreon- which are madness; and drank deeply- although the purple wine reminded us of blood. For there was yet another tenant of our chamber in the person of young Zoilus. Dead, and at full length he lay, enshrouded; the genius and the demon of the scene. Alas! he bore no portion in our mirth, save that his countenance, distorted with the plague, and his eyes, in which Death had but half extinguished the fire of the pestilence, seemed to take such interest in our merriment as the dead may haply take in the merriment of those who are to die. But although I, Oinos, felt that the eyes of the departed were upon me, still I forced myself not to perceive the bitterness of their expression, and gazing down steadily into the depths of the ebony mirror, sang with a loud and sonorous voice the songs of the son of Teios. But gradually my songs they ceased, and their echoes, rolling afar off among the sable draperies of the chamber, became weak, and undistinguishable, and so faded away.

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And lo! from among those sable draperies where the sounds of the song departed, there came forth a dark and undefined shadow- a shadow such as the moon, when low in heaven, might fashion from the figure of a man: but it was the shadow neither of man nor of God, nor of any familiar thing. And quivering awhile among the draperies of the room, it at length rested in full view upon the surface of the door of brass. But the shadow was vague, and formless, and indefinite, and was the shadow neither of man nor of God- neither God of Greece, nor God of Chaldaea, nor any Egyptian God. And the shadow rested upon the brazen doorway, and under the arch of the entablature of the door, and moved not, nor spoke any word, but there became stationary and remained. And the door whereupon the shadow rested was, if I remember aright, over against the feet of the young Zoilus enshrouded. But we, the seven there assembled, having seen the shadow as it came out from among the draperies, dared not steadily behold it, but cast down our eyes, and gazed continually into the depths of the mirror of ebony. And at length I, Oinos, speaking some low words, demanded of the shadow its dwelling and its appellation. And the shadow answered, “I am SHADOW, and my dwelling is near to the Catacombs of Ptolemais, and hard by those dim plains of Helusion which border upon the foul Charonian canal.” And then did we, the seven, start from our seats in horror, and stand trembling, and shuddering, and aghast, for the tones in the voice of the shadow were not the tones of any one being, but of a multitude of beings, and, varying in their cadences from syllable to syllable fell duskly upon our ears in the well-remembered and familiar accents of many thousand departed friends.

Source: The Gutenberg project

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Morella by Edgar Allan Poe

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Itself, by itself, solely, one everlasting, and single.
PLATO: SYMPOS.

WITH a feeling of deep yet most singular affection I regarded my friend Morella. Thrown by accident into her society many years ago, my soul from our first meeting, burned with fires it had never before known; but the fires were not of Eros, and bitter and tormenting to my spirit was the gradual conviction that I could in no manner define their unusual meaning or regulate their vague intensity. Yet we met; and fate bound us together at the altar, and I never spoke of passion nor thought of love. She, however, shunned society, and, attaching herself to me alone rendered me happy. It is a happiness to wonder; it is a happiness to dream.

Morella’s erudition was profound. As I hope to live, her talents were of no common order—her powers of mind were gigantic. I felt this, and, in many matters, became her pupil. I soon, however, found that, perhaps on account of her Presburg education, she placed before me a number of those mystical writings which are usually considered the mere dross of the early German literature. These, for what reason I could not imagine, were her favourite and constant study—and that in process of time they became my own, should be attributed to the simple but effectual influence of habit and example.

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In all this, if I err not, my reason had little to do. My convictions, or I forget myself, were in no manner acted upon by the ideal, nor was any tincture of the mysticism which I read to be discovered, unless I am greatly mistaken, either in my deeds or in my thoughts. Persuaded of this, I abandoned myself implicitly to the guidance of my wife, and entered with an unflinching heart into the intricacies of her studies. And then—then, when poring over forbidden pages, I felt a forbidden spirit enkindling within me—would Morella place her cold hand upon my own, and rake up from the ashes of a dead philosophy some low, singular words, whose strange meaning burned themselves in upon my memory. And then, hour after hour, would I linger by her side, and dwell upon the music of her voice, until at length its melody was tainted with terror, and there fell a shadow upon my soul, and I grew pale, and shuddered inwardly at those too unearthly tones. And thus, joy suddenly faded into horror, and the most beautiful became the most hideous, as Hinnon became Ge-Henna.

Illustration to the short story: Morella, by Harry Clarke

It is unnecessary to state the exact character of those disquisitions which, growing out of the volumes I have mentioned, formed, for so long a time, almost the sole conversation of Morella and myself. By the learned in what might be termed theological morality they will be readily conceived, and by the unlearned they would, at all events, be little understood. The wild Pantheism of Fichte; the modified Paliggenedia of the Pythagoreans; and, above all, the doctrines of Identity as urged by Schelling, were generally the points of discussion presenting the most of beauty to the imaginative Morella. That identity which is termed personal, Mr. Locke, I think, truly defines to consist in the saneness of rational being. And since by person we understand an intelligent essence having reason, and since there is a consciousness which always accompanies thinking, it is this which makes us all to be that which we call ourselves, thereby distinguishing us from other beings that think, and giving us our personal identity. But the principium indivduationis, the notion of that identity which at death is or is not lost for ever, was to me, at all times, a consideration of intense interest; not more from the perplexing and exciting nature of its consequences, than from the marked and agitated manner in which Morella mentioned them.

But, indeed, the time had now arrived when the mystery of my wife’s manner oppressed me as a spell. I could no longer bear the touch of her wan fingers, nor the low tone of her musical language, nor the lustre of her melancholy eyes. And she knew all this, but did not upbraid; she seemed conscious of my weakness or my folly, and, smiling, called it fate. She seemed also conscious of a cause, to me unknown, for the gradual alienation of my regard; but she gave me no hint or token of its nature. Yet was she woman, and pined away daily. In time the crimson spot settled steadily upon the cheek, and the blue veins upon the pale forehead became prominent; and one instant my nature melted into pity, but in, next I met the glance of her meaning eyes, and then my soul sickened and became giddy with the giddiness of one who gazes downward into some dreary and unfathomable abyss.

Shall I then say that I longed with an earnest and consuming desire for the moment of Morella’s decease? I did; but the fragile spirit clung to its tenement of clay for many days, for many weeks and irksome months, until my tortured nerves obtained the mastery over my mind, and I grew furious through delay, and, with the heart of a fiend, cursed the days and the hours and the bitter moments, which seemed to lengthen and lengthen as her gentle life declined, like shadows in the dying of the day.

But one autumnal evening, when the winds lay still in heaven, Morella called me to her bedside. There was a dim mist over all the earth, and a warm glow upon the waters, and amid the rich October leaves of the forest, a rainbow from the firmament had surely fallen.

“It is a day of days,” she said, as I approached; “a day of all days either to live or die. It is a fair day for the sons of earth and life—ah, more fair for the daughters of heaven and death!”

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I kissed her forehead, and she continued:

“I am dying, yet shall I live.”

“Morella!”

“The days have never been when thou couldst love me—but her whom in life thou didst abhor, in death thou shalt adore.”

“Morella!”

“I repeat I am dying. But within me is a pledge of that affection—ah, how little!—which thou didst feel for me, Morella. And when my spirit departs shall the child live—thy child and mine, Morella’s. But thy days shall be days of sorrow—that sorrow which is the most lasting of impressions, as the cypress is the most enduring of trees. For the hours of thy happiness are over and joy is not gathered twice in a life, as the roses of Paestum twice in a year. Thou shalt no longer, then, play the Teian with time, but, being ignorant of the myrtle and the vine, thou shalt bear about with thee thy shroud on the earth, as do the Moslemin at Mecca.”

“Morella!” I cried, “Morella! how knowest thou this?” but she turned away her face upon the pillow and a slight tremor coming over her limbs, she thus died, and I heard her voice no more.

Yet, as she had foretold, her child, to which in dying she had given birth, which breathed not until the mother breathed no more, her child, a daughter, lived. And she grew strangely in stature and intellect, and was the perfect resemblance of her who had departed, and I loved her with a love more fervent than I had believed it possible to feel for any denizen of earth.

But, ere long the heaven of this pure affection became darkened, and gloom, and horror, and grief swept over it in clouds. I said the child grew strangely in stature and intelligence. Strange, indeed, was her rapid increase in bodily size, but terrible, oh! terrible were the tumultuous thoughts which crowded upon me while watching the development of her mental being. Could it be otherwise, when I daily discovered in the conceptions of the child the adult powers and faculties of the woman? when the lessons of experience fell from the lips of infancy? and when the wisdom or the passions of maturity I found hourly gleaming from its full and speculative eye? When, I say, all this became evident to my appalled senses, when I could no longer hide it from my soul, nor throw it off from those perceptions which trembled to receive it, is it to be wondered at that suspicions, of a nature fearful and exciting, crept in upon my spirit, or that my thoughts fell back aghast upon the wild tales and thrilling theories of the entombed Morella? I snatched from the scrutiny of the world a being whom destiny compelled me to adore, and in the rigorous seclusion of my home, watched with an agonizing anxiety over all which concerned the beloved.

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And as years rolled away, and I gazed day after day upon her holy, and mild, and eloquent face, and poured over her maturing form, day after day did I discover new points of resemblance in the child to her mother, the melancholy and the dead. And hourly grew darker these shadows of similitude, and more full, and more definite, and more perplexing, and more hideously terrible in their aspect. For that her smile was like her mother’s I could bear; but then I shuddered at its too perfect identity, that her eyes were like Morella’s I could endure; but then they, too, often looked down into the depths of my soul with Morella’s own intense and bewildering meaning. And in the contour of the high forehead, and in the ringlets of the silken hair, and in the wan fingers which buried themselves therein, and in the sad musical tones of her speech, and above all—oh, above all, in the phrases and expressions of the dead on the lips of the loved and the living, I found food for consuming thought and horror, for a worm that would not die.

Thus passed away two lustra of her life, and as yet my daughter remained nameless upon the earth. “My child,” and “my love,” were the designations usually prompted by a father’s affection, and the rigid seclusion of her days precluded all other intercourse. Morella’s name died with her at her death. Of the mother I had never spoken to the daughter, it was impossible to speak. Indeed, during the brief period of her existence, the latter had received no impressions from the outward world, save such as might have been afforded by the narrow limits of her privacy. But at length the ceremony of baptism presented to my mind, in its unnerved and agitated condition, a present deliverance from the terrors of my destiny. And at the baptismal font I hesitated for a name. And many titles of the wise and beautiful, of old and modern times, of my own and foreign lands, came thronging to my lips, with many, many fair titles of the gentle, and the happy, and the good. What prompted me then to disturb the memory of the buried dead? What demon urged me to breathe that sound, which in its very recollection was wont to make ebb the purple blood in torrents from the temples to the heart? What fiend spoke from the recesses of my soul, when amid those dim aisles, and in the silence of the night, I whispered within the ears of the holy man the syllables—Morella? What more than fiend convulsed the features of my child, and overspread them with hues of death, as starting at that scarcely audible sound, she turned her glassy eyes from the earth to heaven, and falling prostrate on the black slabs of our ancestral vault, responded—“I am here!”

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Distinct, coldly, calmly distinct, fell those few simple sounds within my ear, and thence like molten lead rolled hissingly into my brain. Years—years may pass away, but the memory of that epoch never. Nor was I indeed ignorant of the flowers and the vine—but the hemlock and the cypress overshadowed me night and day. And I kept no reckoning of time or place, and the stars of my fate faded from heaven, and therefore the earth grew dark, and its figures passed by me like flitting shadows, and among them all I beheld only—Morella. The winds of the firmament breathed but one sound within my ears, and the ripples upon the sea murmured evermore—Morella. But she died; and with my own hands I bore her to the tomb; and I laughed with a long and bitter laugh as I found no traces of the first in the channel where I laid the second.—Morella.

Source: The Gutenberg project

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Bærums Verk — Most Haunted Village in Norway

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In a former foundry village at Bærums Verk in Norway, they have experienced strange hauntings since the the founder of the place died there. Phones calls in the dead of the night and ghostly figures have been spotted for a long time.

Norway is perhaps remembered as two things. Either as the savage Vikings, plundering Europe and beyond, or they are perhaps remembered as this rich oil country of today. Most often, perhaps not remembered at all, were it sits at the edge of the world. But few people know of the dark times in between.

It was only in the 50’s and 60’s that the country grew in wealth, and before that, it was one of Europe poorest countries. So centuries with coldness, starvation and ghosts. The folk lore is still thriving and the ghosts of the past, lurking around the corners, in between the walls, and inside the houses and homes.

Bærums Verk: The little village of Bærums Verk in Norway still stands as an old foundry settlement, and is an active place, both as a place to work, and as a place to live. It is also said it’s an active place for ghost visitations./Wikimedia

On a very un-scary place like Bærums Verk, a village east in Norway, the quaint streets and not the most busy city life in Oslo not far from it, we find one of the country’s most haunted place along the river and mountains were it is built. Between the old wooden walls of the ancient houses creeks the history from the many lives that walked through this place since it was first built in the 1600s when it was found iron ore there.

The ghostly tales of the Bærums Verk are many and it’s supposedly haunted by more than one ghost. According to the stories, dogs refuse to go into certain rooms in the old buildings. There are steps and doors creaking when no one is using them. Doors that never wants to open, even when you have the key.

Read More: All our ghost stories about Haunted Towns from around the world.

The Times Were Changing

Norway is perhaps not very known for their factory and mining, but at the birth of the industrial revolution, the tall mountains were hacked into and the gushing waterfalls harvested to use as energy. The grouping of people changes from being a small farming country to taking its first steps into the modern world.

Conrad Clausen: The former owner of the foundry Bærums Verk and the one that expanded it and made it as big as it became. /Wikimedia

Going from being a country spread out on small farms and along the coast, they grouped together inland to work the land, hack into the mountains and train the water to make their bidding.

Read More: More ghost stories from Norway

Some of these communities from the start of the industrial revolution are alive and thriving today, like at Bærums Verk were people still live and work, long after the iron foundry the settlement was founded on closed. And so does the ghosts of the past as well if we are to believe the rumors.

So who is the one said to haunt the entire place? One of the supposed ghosts said to still roam the place has been there from the very beginning.

The legend wants to tell of the former owner of Bærums Verk, Conrad Clausen haunts the street called Verksgata. At least he is one of the ghosts, and according to the workers and people living there, there are a lot of them.

But back to Conrad. He was only a young guy when the whole place fell on his shoulders. He took over the iron foundry in 1773 at 18 years old. In those time, small villages for the workers was often built around foundry like what happened at Bærums Verk, a lot of the little villages still standing to this day.

Clausen gave all of his life and his energy to the place were he lived and worked. Even if his life was going to be a very short one. Only at the age of 31 he died in his bedroom. The same bedroom now operating as a meeting room for people working there today, now that the foundry is turned into a shopping mall.

Ghosts on the Phones at Bærums Verk

Typical, isn’t it? A young man dies too soon, steps in the night, creaking of the doors and sceptical dogs to watch over his life work. But perhaps the strangest with the haunting must be the phones acting up at Bærums Verk.

It is the middle of the night, a very dark and desolate nordic night. No one is at work at Bærums Verk yet, no one is there to answer the phones. No one is up to make a call to them. But still, the phones are ringing. The people employed in the offices of the shopping mall, where Clausen lived, claims that phones calls constantly during the night. To the same time, quarter past twelve or quarter past one. Depending if it is summer- or winter saving time.

It’s rumored that if you try to take the ghostly phone call it will only answer with a strange beeping sound. Straight after the phone in the room next to will start calling. And then in the room next again. That is how it continues through the whole building during the nights.

Read also: Another place that are haunted by phones ringing is: The Haunted Babenhausen Kaserne

Why haven’t the people working at Bærums Verk just called the telephone company to have it fixed? Answer is, they have, several times but no one seems to be able to figure it out. Who is making the calls and how is it possible to not trace them? The leader of the shopping mall, Gry Skådinn told the local newspaper that it was exactly what the workers at the mall tried to and they have tried to get to the bottom of this mystery for ages.

“When we get into work in the morning, the whole switchboard is blinking away.”

But when the telephone company comes to fix the whole thing and explain it all, only more questions rose.

“Before I started here, we found that the phone signals came from the lunch rooms. That was back in the day the bedroom of Conrad Clausen, and were he died,” Skådinn says as if that is the final answer to this mystery and the only explanation.

The Woman in Green at the Tavern

The ghost of Conrad Carlsen is not the only reported ghost, haunting this settlement of iron workers. On the oldest tavern in the country found at Bærums Verk, there are also been reported many cases of unusual happenings. Bærums verk has become somewhat of a cultural place to preserve olden times that used to be. That is what the people planned for at least when working at the tavern as they served recipes based on old ones and classical Norwegian food.

The Woman in Green: The imagery in filled with supernatural connotations to folklore of the huldra and Norwegian literature./wikimedia

Perhaps this nostalgic sentiment and keeping the place frozen in time is contributing keeping the ghosts alive here. The buildings at Bærums Verk are protected and will remain as part of the cultural heritage, the smell of the food coming from the tavern, perhaps similar the one the ghosts used to eat when they themselves were alive. In any case, the strange occurrences, like the with the phones to the malls is happening all over the settlement.

So many instances of these strange occurrences have happened in fact that several journalists, ghost tourists, paranormal investigators, mediums and the ghost hunter tv-show in Norway stopped by at Bærums Verk to get a glimpse of it. Most comes back with claims they did.

At the old tavern for instance at Bærums Verk, the staff as well as the owners have had trouble dealing with a green clothed woman, a very loaded imagery in Norwegian culture that keep popping up in folklore and fairy-tales.

“It’s just not practical working in the oldest tavern when a ghost in green clothes just walks around,” the owner, Ulla Laycock told the local newspaper.

Laycock and her husband found a way for this impractical haunting work for their advantage though, as they published their book on the persistent hauntings of the place.

The local history team have identified the woman in green as a woman called Anna Paulsdatter Vogt Krefting that died in 1766 after running the foundry for more than 50 years. Perhaps she as well put too much energy into the place to let it go after her death.

The Lady in Green: The ghost that have been called the woman dressed in green is said to be Anna Paulsdatter Vogt Krefting (born 23. mars 1683 in Christiania, død 25. mars 1766 i Bærum)//Source: wikimedia

According to the legend about the ghost of the woman in green though, the people working in the tavern claim that the ghost of Anna Krefting still walks among the guests of the tavern as it fits with her period clothes she’s been observed in.

Living With the Ghosts

There is a lot in the walls in this place, and it is important to take care of,” the writer of the book, Caroline Paulsberg says about the supposed haunting at Bærums Verk.

It is however interesting how the locals and workers feel about living in the country’s most haunted place, or rather, haunted village. On their own facebook group, they claim that, yes, it is haunted, but they would like to keep them around at Bærums Verk as if they ear a sense of pride of the ghosts still lingering in the small and old buildings. Here, everything is going to be preserved, even the ghosts.

Most of people around haunted places would perhaps not feel the same way at those at Bærums Verk. But according to them, the ghosts are only nice, and they have the same right to be their as the living, having once themselves lived and worked there.

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Ligeia by Edgar Allan Poe

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And the will therein lieth, which dieth not. Who knoweth the mysteries of the will, with its vigor? For God is but a great will pervading all things by nature of its intentness. Man doth not yield himself to the angels, nor unto death utterly, save only through the weakness of his feeble will.
—Joseph Glanvill.

I cannot, for my soul, remember how, when, or even precisely where, I first became acquainted with the lady Ligeia. Long years have since elapsed, and my memory is feeble through much suffering. Or, perhaps, I cannot now bring these points to mind, because, in truth, the character of my beloved, her rare learning, her singular yet placid cast of beauty, and the thrilling and enthralling eloquence of her low musical language, made their way into my heart by paces so steadily and stealthily progressive that they have been unnoticed and unknown. Yet I believe that I met her first and most frequently in some large, old, decaying city near the Rhine. Of her family—I have surely heard her speak. That it is of a remotely ancient date cannot be doubted. Ligeia! Ligeia! in studies of a nature more than all else adapted to deaden impressions of the outward world, it is by that sweet word alone—by Ligeia—that I bring before mine eyes in fancy the image of her who is no more. And now, while I write, a recollection flashes upon me that I have never known the paternal name of her who was my friend and my betrothed, and who became the partner of my studies, and finally the wife of my bosom. Was it a playful charge on the part of my Ligeia? or was it a test of my strength of affection, that I should institute no inquiries upon this point? or was it rather a caprice of my own—a wildly romantic offering on the shrine of the most passionate devotion? I but indistinctly recall the fact itself—what wonder that I have utterly forgotten the circumstances which originated or attended it? And, indeed, if ever she, the wan and the misty-winged Ashtophet of idolatrous Egypt, presided, as they tell, over marriages ill-omened, then most surely she presided over mine.

Illustration for Edgar Allan Poe’s story “Ligeia” by Harry Clarke (1889-1931), published in 1919.

There is one dear topic, however, on which my memory fails me not. It is the person of Ligeia. In stature she was tall, somewhat slender, and, in her latter days, even emaciated. I would in vain attempt to portray the majesty, the quiet ease, of her demeanor, or the incomprehensible lightness and elasticity of her footfall. She came and departed as a shadow. I was never made aware of her entrance into my closed study save by the dear music of her low sweet voice, as she placed her marble hand upon my shoulder. In beauty of face no maiden ever equalled her. It was the radiance of an opium-dream—an airy and spirit-lifting vision more wildly divine than the phantasies which hovered vision about the slumbering souls of the daughters of Delos. Yet her features were not of that regular mould which we have been falsely taught to worship in the classical labors of the heathen. “There is no exquisite beauty,” says Bacon, Lord Verulam, speaking truly of all the forms and genera of beauty, “without some strangeness in the proportion.” Yet, although I saw that the features of Ligeia were not of a classic regularity—although I perceived that her loveliness was indeed “exquisite,” and felt that there was much of “strangeness” pervading it, yet I have tried in vain to detect the irregularity and to trace home my own perception of “the strange.” I examined the contour of the lofty and pale forehead—it was faultless—how cold indeed that word when applied to a majesty so divine!—the skin rivalling the purest ivory, the commanding extent and repose, the gentle prominence of the regions above the temples; and then the raven-black, the glossy, the luxuriant and naturally-curling tresses, setting forth the full force of the Homeric epithet, “hyacinthine!” I looked at the delicate outlines of the nose—and nowhere but in the graceful medallions of the Hebrews had I beheld a similar perfection. There were the same luxurious smoothness of surface, the same scarcely perceptible tendency to the aquiline, the same harmoniously curved nostrils speaking the free spirit. I regarded the sweet mouth. Here was indeed the triumph of all things heavenly—the magnificent turn of the short upper lip—the soft, voluptuous slumber of the under—the dimples which sported, and the color which spoke—the teeth glancing back, with a brilliancy almost startling, every ray of the holy light which fell upon them in her serene and placid, yet most exultingly radiant of all smiles. I scrutinized the formation of the chin—and here, too, I found the gentleness of breadth, the softness and the majesty, the fullness and the spirituality, of the Greek—the contour which the god Apollo revealed but in a dream, to Cleomenes, the son of the Athenian. And then I peered into the large eyes of Ligeia.

“Poe’s Tales of Mystery and Imagination” (1935) Illustrated by Arthur Rackham

For eyes we have no models in the remotely antique. It might have been, too, that in these eyes of my beloved lay the secret to which Lord Verulam alludes. They were, I must believe, far larger than the ordinary eyes of our own race. They were even fuller than the fullest of the gazelle eyes of the tribe of the valley of Nourjahad. Yet it was only at intervals—in moments of intense excitement—that this peculiarity became more than slightly noticeable in Ligeia. And at such moments was her beauty—in my heated fancy thus it appeared perhaps—the beauty of beings either above or apart from the earth—the beauty of the fabulous Houri of the Turk. The hue of the orbs was the most brilliant of black, and, far over them, hung jetty lashes of great length. The brows, slightly irregular in outline, had the same tint. The “strangeness,” however, which I found in the eyes, was of a nature distinct from the formation, or the color, or the brilliancy of the features, and must, after all, be referred to the expression. Ah, word of no meaning! behind whose vast latitude of mere sound we intrench our ignorance of so much of the spiritual. The expression of the eyes of Ligeia! How for long hours have I pondered upon it! How have I, through the whole of a midsummer night, struggled to fathom it! What was it—that something more profound than the well of Democritus—which lay far within the pupils of my beloved? What was it? I was possessed with a passion to discover. Those eyes! those large, those shining, those divine orbs! they became to me twin stars of Leda, and I to them devoutest of astrologers.

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There is no point, among the many incomprehensible anomalies of the science of mind, more thrillingly exciting than the fact—never, I believe, noticed in the schools—that, in our endeavors to recall to memory something long forgotten, we often find ourselves upon the very verge of remembrance, without being able, in the end, to remember. And thus how frequently, in my intense scrutiny of Ligeia’s eyes, have I felt approaching the full knowledge of their expression—felt it approaching—yet not quite be mine—and so at length entirely depart! And (strange, oh strangest mystery of all!) I found, in the commonest objects of the universe, a circle of analogies to that expression. I mean to say that, subsequently to the period when Ligeia’s beauty passed into my spirit, there dwelling as in a shrine, I derived, from many existences in the material world, a sentiment such as I felt always aroused within me by her large and luminous orbs. Yet not the more could I define that sentiment, or analyze, or even steadily view it. I recognized it, let me repeat, sometimes in the survey of a rapidly-growing vine—in the contemplation of a moth, a butterfly, a chrysalis, a stream of running water. I have felt it in the ocean; in the falling of a meteor. I have felt it in the glances of unusually aged people. And there are one or two stars in heaven—(one especially, a star of the sixth magnitude, double and changeable, to be found near the large star in Lyra) in a telescopic scrutiny of which I have been made aware of the feeling. I have been filled with it by certain sounds from stringed instruments, and not unfrequently by passages from books. Among innumerable other instances, I well remember something in a volume of Joseph Glanvill, which (perhaps merely from its quaintness—who shall say?) never failed to inspire me with the sentiment;—“And the will therein lieth, which dieth not. Who knoweth the mysteries of the will, with its vigor? For God is but a great will pervading all things by nature of its intentness. Man doth not yield him to the angels, nor unto death utterly, save only through the weakness of his feeble will.”

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Length of years, and subsequent reflection, have enabled me to trace, indeed, some remote connection between this passage in the English moralist and a portion of the character of Ligeia. An intensity in thought, action, or speech, was possibly, in her, a result, or at least an index, of that gigantic volition which, during our long intercourse, failed to give other and more immediate evidence of its existence. Of all the women whom I have ever known, she, the outwardly calm, the ever-placid Ligeia, was the most violently a prey to the tumultuous vultures of stern passion. And of such passion I could form no estimate, save by the miraculous expansion of those eyes which at once so delighted and appalled me—by the almost magical melody, modulation, distinctness and placidity of her very low voice—and by the fierce energy (rendered doubly effective by contrast with her manner of utterance) of the wild words which she habitually uttered.

I have spoken of the learning of Ligeia: it was immense—such as I have never known in woman. In the classical tongues was she deeply proficient, and as far as my own acquaintance extended in regard to the modern dialects of Europe, I have never known her at fault. Indeed upon any theme of the most admired, because simply the most abstruse of the boasted erudition of the academy, have I ever found Ligeia at fault? How singularly—how thrillingly, this one point in the nature of my wife has forced itself, at this late period only, upon my attention! I said her knowledge was such as I have never known in woman—but where breathes the man who has traversed, and successfully, all the wide areas of moral, physical, and mathematical science? I saw not then what I now clearly perceive, that the acquisitions of Ligeia were gigantic, were astounding; yet I was sufficiently aware of her infinite supremacy to resign myself, with a child-like confidence, to her guidance through the chaotic world of metaphysical investigation at which I was most busily occupied during the earlier years of our marriage. With how vast a triumph—with how vivid a delight—with how much of all that is ethereal in hope—did I feel, as she bent over me in studies but little sought—but less known—that delicious vista by slow degrees expanding before me, down whose long, gorgeous, and all untrodden path, I might at length pass onward to the goal of a wisdom too divinely precious not to be forbidden!

“Poe’s Tales of Mystery and Imagination” (1935) Illustrated by Arthur Rackham

How poignant, then, must have been the grief with which, after some years, I beheld my well-grounded expectations take wings to themselves and fly away! Without Ligeia I was but as a child groping benighted. Her presence, her readings alone, rendered vividly luminous the many mysteries of the transcendentalism in which we were immersed. Wanting the radiant lustre of her eyes, letters, lambent and golden, grew duller than Saturnian lead. And now those eyes shone less and less frequently upon the pages over which I pored. Ligeia grew ill. The wild eyes blazed with a too—too glorious effulgence; the pale fingers became of the transparent waxen hue of the grave, and the blue veins upon the lofty forehead swelled and sank impetuously with the tides of the gentle emotion. I saw that she must die—and I struggled desperately in spirit with the grim Azrael. And the struggles of the passionate wife were, to my astonishment, even more energetic than my own. There had been much in her stern nature to impress me with the belief that, to her, death would have come without its terrors;—but not so. Words are impotent to convey any just idea of the fierceness of resistance with which she wrestled with the Shadow. I groaned in anguish at the pitiable spectacle. I would have soothed—I would have reasoned; but, in the intensity of her wild desire for life,—for life—but for life—solace and reason were the uttermost folly. Yet not until the last instance, amid the most convulsive writhings of her fierce spirit, was shaken the external placidity of her demeanor. Her voice grew more gentle—grew more low—yet I would not wish to dwell upon the wild meaning of the quietly uttered words. My brain reeled as I hearkened entranced, to a melody more than mortal—to assumptions and aspirations which mortality had never before known.

That she loved me I should not have doubted; and I might have been easily aware that, in a bosom such as hers, love would have reigned no ordinary passion. But in death only, was I fully impressed with the strength of her affection. For long hours, detaining my hand, would she pour out before me the overflowing of a heart whose more than passionate devotion amounted to idolatry. How had I deserved to be so blessed by such confessions?—how had I deserved to be so cursed with the removal of my beloved in the hour of her making them? But upon this subject I cannot bear to dilate. Let me say only, that in Ligeia’s more than womanly abandonment to a love, alas! all unmerited, all unworthily bestowed, I at length recognized the principle of her longing with so wildly earnest a desire for the life which was now fleeing so rapidly away. It is this wild longing—it is this eager vehemence of desire for life—but for life—that I have no power to portray—no utterance capable of expressing.

At high noon of the night in which she departed, beckoning me, peremptorily, to her side, she bade me repeat certain verses composed by herself not many days before. I obeyed her.—They were these:

Lo! ‘tis a gala night
Within the lonesome latter years!
An angel throng, bewinged, bedight
In veils, and drowned in tears,
Sit in a theatre, to see
A play of hopes and fears,
While the orchestra breathes fitfully
The music of the spheres.

 Mimes, in the form of God on high,
   Mutter and mumble low,
 And hither and thither fly;
   Mere puppets they, who come and go
 At bidding of vast formless things
   That shift the scenery to and fro,
 Flapping from out their Condor wings
   Invisible Wo!

 That motley drama!—oh, be sure
   It shall not be forgot!
 With its Phantom chased forever more,
   By a crowd that seize it not,
 Through a circle that ever returneth in
   To the self-same spot,
 And much of Madness and more of Sin
   And Horror the soul of the plot.

 But see, amid the mimic rout,
   A crawling shape intrude!
 A blood-red thing that writhes from out
   The scenic solitude!
 It writhes!—it writhes!—with mortal pangs
   The mimes become its food,
 And the seraphs sob at vermin fangs
   In human gore imbued.

 Out—out are the lights—out all!
   And over each quivering form,
 The curtain, a funeral pall,
   Comes down with the rush of a storm,
 And the angels, all pallid and wan,
   Uprising, unveiling, affirm
 That the play is the tragedy, “Man,”
    And its hero the Conqueror Worm.

“O God!” half shrieked Ligeia, leaping to her feet and extending her arms aloft with a spasmodic movement, as I made an end of these lines—“O God! O Divine Father!—shall these things be undeviatingly so?—shall this Conqueror be not once conquered? Are we not part and parcel in Thee? Who—who knoweth the mysteries of the will with its vigor? Man doth not yield him to the angels, nor unto death utterly, save only through the weakness of his feeble will.”

And now, as if exhausted with emotion, she suffered her white arms to fall, and returned solemnly to her bed of death. And as she breathed her last sighs, there came mingled with them a low murmur from her lips. I bent to them my ear and distinguished, again, the concluding words of the passage in Glanvill—“Man doth not yield him to the angels, nor unto death utterly, save only through the weakness of his feeble will.”

Byam Shaw’s illustration for Poe’s Ligeia in “Selected Tales of Mystery” (London : Sidgwick & Jackson, 1909)

She died;—and I, crushed into the very dust with sorrow, could no longer endure the lonely desolation of my dwelling in the dim and decaying city by the Rhine. I had no lack of what the world calls wealth. Ligeia had brought me far more, very far more than ordinarily falls to the lot of mortals. After a few months, therefore, of weary and aimless wandering, I purchased, and put in some repair, an abbey, which I shall not name, in one of the wildest and least frequented portions of fair England. The gloomy and dreary grandeur of the building, the almost savage aspect of the domain, the many melancholy and time-honored memories connected with both, had much in unison with the feelings of utter abandonment which had driven me into that remote and unsocial region of the country. Yet although the external abbey, with its verdant decay hanging about it, suffered but little alteration, I gave way, with a child-like perversity, and perchance with a faint hope of alleviating my sorrows, to a display of more than regal magnificence within.—For such follies, even in childhood, I had imbibed a taste and now they came back to me as if in the dotage of grief. Alas, I feel how much even of incipient madness might have been discovered in the gorgeous and fantastic draperies, in the solemn carvings of Egypt, in the wild cornices and furniture, in the Bedlam patterns of the carpets of tufted gold! I had become a bounden slave in the trammels of opium, and my labors and my orders had taken a coloring from my dreams. But these absurdities I must not pause to detail. Let me speak only of that one chamber, ever accursed, whither in a moment of mental alienation, I led from the altar as my bride—as the successor of the unforgotten Ligeia—the fair-haired and blue-eyed Lady Rowena Trevanion, of Tremaine.

There is no individual portion of the architecture and decoration of that bridal chamber which is not now visibly before me. Where were the souls of the haughty family of the bride, when, through thirst of gold, they permitted to pass the threshold of an apartment so bedecked, a maiden and a daughter so beloved? I have said that I minutely remember the details of the chamber—yet I am sadly forgetful on topics of deep moment—and here there was no system, no keeping, in the fantastic display, to take hold upon the memory. The room lay in a high turret of the castellated abbey, was pentagonal in shape, and of capacious size. Occupying the whole southern face of the pentagon was the sole window—an immense sheet of unbroken glass from Venice—a single pane, and tinted of a leaden hue, so that the rays of either the sun or moon, passing through it, fell with a ghastly lustre on the objects within. Over the upper portion of this huge window, extended the trellice-work of an aged vine, which clambered up the massy walls of the turret. The ceiling, of gloomy-looking oak, was excessively lofty, vaulted, and elaborately fretted with the wildest and most grotesque specimens of a semi-Gothic, semi-Druidical device. From out the most central recess of this melancholy vaulting, depended, by a single chain of gold with long links, a huge censer of the same metal, Saracenic in pattern, and with many perforations so contrived that there writhed in and out of them, as if endued with a serpent vitality, a continual succession of parti-colored fires.

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Some few ottomans and golden candelabra, of Eastern figure, were in various stations about—and there was the couch, too—bridal couch—of an Indian model, and low, and sculptured of solid ebony, with a pall-like canopy above. In each of the angles of the chamber stood on end a gigantic sarcophagus of black granite, from the tombs of the kings over against Luxor, with their aged lids full of immemorial sculpture. But in the draping of the apartment lay, alas! the chief phantasy of all. The lofty walls, gigantic in height—even unproportionably so—were hung from summit to foot, in vast folds, with a heavy and massive-looking tapestry—tapestry of a material which was found alike as a carpet on the floor, as a covering for the ottomans and the ebony bed, as a canopy for the bed, and as the gorgeous volutes of the curtains which partially shaded the window. The material was the richest cloth of gold. It was spotted all over, at irregular intervals, with arabesque figures, about a foot in diameter, and wrought upon the cloth in patterns of the most jetty black. But these figures partook of the true character of the arabesque only when regarded from a single point of view. By a contrivance now common, and indeed traceable to a very remote period of antiquity, they were made changeable in aspect. To one entering the room, they bore the appearance of simple monstrosities; but upon a farther advance, this appearance gradually departed; and step by step, as the visitor moved his station in the chamber, he saw himself surrounded by an endless succession of the ghastly forms which belong to the superstition of the Norman, or arise in the guilty slumbers of the monk. The phantasmagoric effect was vastly heightened by the artificial introduction of a strong continual current of wind behind the draperies—giving a hideous and uneasy animation to the whole.

In halls such as these—in a bridal chamber such as this—I passed, with the Lady of Tremaine, the unhallowed hours of the first month of our marriage—passed them with but little disquietude. That my wife dreaded the fierce moodiness of my temper—that she shunned me and loved me but little—I could not help perceiving; but it gave me rather pleasure than otherwise. I loathed her with a hatred belonging more to demon than to man. My memory flew back, (oh, with what intensity of regret!) to Ligeia, the beloved, the august, the beautiful, the entombed. I revelled in recollections of her purity, of her wisdom, of her lofty, her ethereal nature, of her passionate, her idolatrous love. Now, then, did my spirit fully and freely burn with more than all the fires of her own. In the excitement of my opium dreams (for I was habitually fettered in the shackles of the drug) I would call aloud upon her name, during the silence of the night, or among the sheltered recesses of the glens by day, as if, through the wild eagerness, the solemn passion, the consuming ardor of my longing for the departed, I could restore her to the pathway she had abandoned—ah, could it be forever?—upon the earth.

About the commencement of the second month of the marriage, the Lady Rowena was attacked with sudden illness, from which her recovery was slow. The fever which consumed her rendered her nights uneasy; and in her perturbed state of half-slumber, she spoke of sounds, and of motions, in and about the chamber of the turret, which I concluded had no origin save in the distemper of her fancy, or perhaps in the phantasmagoric influences of the chamber itself. She became at length convalescent—finally well. Yet but a brief period elapsed, ere a second more violent disorder again threw her upon a bed of suffering; and from this attack her frame, at all times feeble, never altogether recovered. Her illnesses were, after this epoch, of alarming character, and of more alarming recurrence, defying alike the knowledge and the great exertions of her physicians. With the increase of the chronic disease which had thus, apparently, taken too sure hold upon her constitution to be eradicated by human means, I could not fail to observe a similar increase in the nervous irritation of her temperament, and in her excitability by trivial causes of fear. She spoke again, and now more frequently and pertinaciously, of the sounds—of the slight sounds—and of the unusual motions among the tapestries, to which she had formerly alluded.

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One night, near the closing in of September, she pressed this distressing subject with more than usual emphasis upon my attention. She had just awakened from an unquiet slumber, and I had been watching, with feelings half of anxiety, half of vague terror, the workings of her emaciated countenance. I sat by the side of her ebony bed, upon one of the ottomans of India. She partly arose, and spoke, in an earnest low whisper, of sounds which she then heard, but which I could not hear—of motions which she then saw, but which I could not perceive. The wind was rushing hurriedly behind the tapestries, and I wished to show her (what, let me confess it, I could not all believe) that those almost inarticulate breathings, and those very gentle variations of the figures upon the wall, were but the natural effects of that customary rushing of the wind. But a deadly pallor, overspreading her face, had proved to me that my exertions to reassure her would be fruitless. She appeared to be fainting, and no attendants were within call. I remembered where was deposited a decanter of light wine which had been ordered by her physicians, and hastened across the chamber to procure it. But, as I stepped beneath the light of the censer, two circumstances of a startling nature attracted my attention. I had felt that some palpable although invisible object had passed lightly by my person; and I saw that there lay upon the golden carpet, in the very middle of the rich lustre thrown from the censer, a shadow—a faint, indefinite shadow of angelic aspect—such as might be fancied for the shadow of a shade. But I was wild with the excitement of an immoderate dose of opium, and heeded these things but little, nor spoke of them to Rowena. Having found the wine, I recrossed the chamber, and poured out a gobletful, which I held to the lips of the fainting lady. She had now partially recovered, however, and took the vessel herself, while I sank upon an ottoman near me, with my eyes fastened upon her person. It was then that I became distinctly aware of a gentle footfall upon the carpet, and near the couch; and in a second thereafter, as Rowena was in the act of raising the wine to her lips, I saw, or may have dreamed that I saw, fall within the goblet, as if from some invisible spring in the atmosphere of the room, three or four large drops of a brilliant and ruby colored fluid. If this I saw—not so Rowena. She swallowed the wine unhesitatingly, and I forbore to speak to her of a circumstance which must, after all, I considered, have been but the suggestion of a vivid imagination, rendered morbidly active by the terror of the lady, by the opium, and by the hour.

Illustration for Edgar Allan Poe’s story “Ligeia” by Harry Clarke (1889-1931), published in 1919.

Yet I cannot conceal it from my own perception that, immediately subsequent to the fall of the ruby-drops, a rapid change for the worse took place in the disorder of my wife; so that, on the third subsequent night, the hands of her menials prepared her for the tomb, and on the fourth, I sat alone, with her shrouded body, in that fantastic chamber which had received her as my bride.—Wild visions, opium-engendered, flitted, shadow-like, before me. I gazed with unquiet eye upon the sarcophagi in the angles of the room, upon the varying figures of the drapery, and upon the writhing of the parti-colored fires in the censer overhead. My eyes then fell, as I called to mind the circumstances of a former night, to the spot beneath the glare of the censer where I had seen the faint traces of the shadow. It was there, however, no longer; and breathing with greater freedom, I turned my glances to the pallid and rigid figure upon the bed. Then rushed upon me a thousand memories of Ligeia—and then came back upon my heart, with the turbulent violence of a flood, the whole of that unutterable wo with which I had regarded her thus enshrouded. The night waned; and still, with a bosom full of bitter thoughts of the one only and supremely beloved, I remained gazing upon the body of Rowena.

It might have been midnight, or perhaps earlier, or later, for I had taken no note of time, when a sob, low, gentle, but very distinct, startled me from my revery.—I felt that it came from the bed of ebony—the bed of death. I listened in an agony of superstitious terror—but there was no repetition of the sound. I strained my vision to detect any motion in the corpse—but there was not the slightest perceptible. Yet I could not have been deceived. I had heard the noise, however faint, and my soul was awakened within me. I resolutely and perseveringly kept my attention riveted upon the body. Many minutes elapsed before any circumstance occurred tending to throw light upon the mystery. At length it became evident that a slight, a very feeble, and barely noticeable tinge of color had flushed up within the cheeks, and along the sunken small veins of the eyelids. Through a species of unutterable horror and awe, for which the language of mortality has no sufficiently energetic expression, I felt my heart cease to beat, my limbs grow rigid where I sat. Yet a sense of duty finally operated to restore my self-possession. I could no longer doubt that we had been precipitate in our preparations—that Rowena still lived. It was necessary that some immediate exertion be made; yet the turret was altogether apart from the portion of the abbey tenanted by the servants—there were none within call—I had no means of summoning them to my aid without leaving the room for many minutes—and this I could not venture to do. I therefore struggled alone in my endeavors to call back the spirit ill hovering. In a short period it was certain, however, that a relapse had taken place; the color disappeared from both eyelid and cheek, leaving a wanness even more than that of marble; the lips became doubly shrivelled and pinched up in the ghastly expression of death; a repulsive clamminess and coldness overspread rapidly the surface of the body; and all the usual rigorous illness immediately supervened. I fell back with a shudder upon the couch from which I had been so startlingly aroused, and again gave myself up to passionate waking visions of Ligeia.

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An hour thus elapsed when (could it be possible?) I was a second time aware of some vague sound issuing from the region of the bed. I listened—in extremity of horror. The sound came again—it was a sigh. Rushing to the corpse, I saw—distinctly saw—a tremor upon the lips. In a minute afterward they relaxed, disclosing a bright line of the pearly teeth. Amazement now struggled in my bosom with the profound awe which had hitherto reigned there alone. I felt that my vision grew dim, that my reason wandered; and it was only by a violent effort that I at length succeeded in nerving myself to the task which duty thus once more had pointed out. There was now a partial glow upon the forehead and upon the cheek and throat; a perceptible warmth pervaded the whole frame; there was even a slight pulsation at the heart. The lady lived; and with redoubled ardor I betook myself to the task of restoration. I chafed and bathed the temples and the hands, and used every exertion which experience, and no little medical reading, could suggest. But in vain. Suddenly, the color fled, the pulsation ceased, the lips resumed the expression of the dead, and, in an instant afterward, the whole body took upon itself the icy chilliness, the livid hue, the intense rigidity, the sunken outline, and all the loathsome peculiarities of that which has been, for many days, a tenant of the tomb.

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And again I sunk into visions of Ligeia—and again, (what marvel that I shudder while I write,) again there reached my ears a low sob from the region of the ebony bed. But why shall I minutely detail the unspeakable horrors of that night? Why shall I pause to relate how, time after time, until near the period of the gray dawn, this hideous drama of revivification was repeated; how each terrific relapse was only into a sterner and apparently more irredeemable death; how each agony wore the aspect of a struggle with some invisible foe; and how each struggle was succeeded by I know not what of wild change in the personal appearance of the corpse? Let me hurry to a conclusion.

The greater part of the fearful night had worn away, and she who had been dead, once again stirred—and now more vigorously than hitherto, although arousing from a dissolution more appalling in its utter hopelessness than any. I had long ceased to struggle or to move, and remained sitting rigidly upon the ottoman, a helpless prey to a whirl of violent emotions, of which extreme awe was perhaps the least terrible, the least consuming. The corpse, I repeat, stirred, and now more vigorously than before. The hues of life flushed up with unwonted energy into the countenance—the limbs relaxed—and, save that the eyelids were yet pressed heavily together, and that the bandages and draperies of the grave still imparted their charnel character to the figure, I might have dreamed that Rowena had indeed shaken off, utterly, the fetters of Death. But if this idea was not, even then, altogether adopted, I could at least doubt no longer, when, arising from the bed, tottering, with feeble steps, with closed eyes, and with the manner of one bewildered in a dream, the thing that was enshrouded advanced boldly and palpably into the middle of the apartment.

I trembled not—I stirred not—for a crowd of unutterable fancies connected with the air, the stature, the demeanor of the figure, rushing hurriedly through my brain, had paralyzed—had chilled me into stone. I stirred not—but gazed upon the apparition. There was a mad disorder in my thoughts—a tumult unappeasable. Could it, indeed, be the living Rowena who confronted me? Could it indeed be Rowena at all—the fair-haired, the blue-eyed Lady Rowena Trevanion of Tremaine? Why, why should I doubt it? The bandage lay heavily about the mouth—but then might it not be the mouth of the breathing Lady of Tremaine? And the cheeks—there were the roses as in her noon of life—yes, these might indeed be the fair cheeks of the living Lady of Tremaine. And the chin, with its dimples, as in health, might it not be hers?—but had she then grown taller since her malady? What inexpressible madness seized me with that thought? One bound, and I had reached her feet! Shrinking from my touch, she let fall from her head, unloosened, the ghastly cerements which had confined it, and there streamed forth, into the rushing atmosphere of the chamber, huge masses of long and dishevelled hair; it was blacker than the raven wings of the midnight! And now slowly opened the eyes of the figure which stood before me. “Here then, at least,” I shrieked aloud, “can I never—can I never be mistaken—these are the full, and the black, and the wild eyes—of my lost love—of the lady—of the LADY LIGEIA.”

Source: The Gutenberg project

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The Assignation by Edgar Allan Poe

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Stay for me there!
I will not fail.
To meet thee in that hollow vale.


[Exequy on the death of his wife, by Henry King, Bishop of Chichester.]

ILL-FATED and mysterious man!—bewildered in the brilliancy of thine own imagination, and fallen in the flames of thine own youth! Again in fancy I behold thee! Once more thy form hath risen before me!—not—oh not as thou art—in the cold valley and shadow—but as thou shouldst be—squandering away a life of magnificent meditation in that city of dim visions, thine own Venice—which is a star-beloved Elysium of the sea, and the wide windows of whose Palladian palaces look down with a deep and bitter meaning upon the secrets of her silent waters. Yes! I repeat it—as thou shouldst be. There are surely other worlds than this—other thoughts than the thoughts of the multitude—other speculations than the speculations of the sophist. Who then shall call thy conduct into question? who blame thee for thy visionary hours, or denounce those occupations as a wasting away of life, which were but the overflowings of thine everlasting energies?

It was at Venice, beneath the covered archway there called the Ponte di Sospiri, that I met for the third or fourth time the person of whom I speak. It is with a confused recollection that I bring to mind the circumstances of that meeting. Yet I remember—ah! how should I forget?—the deep midnight, the Bridge of Sighs, the beauty of woman, and the Genius of Romance that stalked up and down the narrow canal.

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It was a night of unusual gloom. The great clock of the Piazza had sounded the fifth hour of the Italian evening. The square of the Campanile lay silent and deserted, and the lights in the old Ducal Palace were dying fast away. I was returning home from the Piazetta, by way of the Grand Canal. But as my gondola arrived opposite the mouth of the canal San Marco, a female voice from its recesses broke suddenly upon the night, in one wild, hysterical, and long continued shriek. Startled at the sound, I sprang upon my feet: while the gondolier, letting slip his single oar, lost it in the pitchy darkness beyond a chance of recovery, and we were consequently left to the guidance of the current which here sets from the greater into the smaller channel. Like some huge and sable-feathered condor, we were slowly drifting down towards the Bridge of Sighs, when a thousand flambeaux flashing from the windows, and down the staircases of the Ducal Palace, turned all at once that deep gloom into a livid and preternatural day.

Illustration for Edgar Allan Poe’s story “assignation” by Harry Clarke (1889-1931), published in 1919.

A child, slipping from the arms of its own mother, had fallen from an upper window of the lofty structure into the deep and dim canal. The quiet waters had closed placidly over their victim; and, although my own gondola was the only one in sight, many a stout swimmer, already in the stream, was seeking in vain upon the surface, the treasure which was to be found, alas! only within the abyss. Upon the broad black marble flagstones at the entrance of the palace, and a few steps above the water, stood a figure which none who then saw can have ever since forgotten. It was the Marchesa Aphrodite—the adoration of all Venice—the gayest of the gay—the most lovely where all were beautiful—but still the young wife of the old and intriguing Mentoni, and the mother of that fair child, her first and only one, who now, deep beneath the murky water, was thinking in bitterness of heart upon her sweet caresses, and exhausting its little life in struggles to call upon her name.

She stood alone. Her small, bare, and silvery feet gleamed in the black mirror of marble beneath her. Her hair, not as yet more than half loosened for the night from its ball-room array, clustered, amid a shower of diamonds, round and round her classical head, in curls like those of the young hyacinth. A snowy-white and gauze-like drapery seemed to be nearly the sole covering to her delicate form; but the mid-summer and midnight air was hot, sullen, and still, and no motion in the statue-like form itself, stirred even the folds of that raiment of very vapor which hung around it as the heavy marble hangs around the Niobe. Yet—strange to say!—her large lustrous eyes were not turned downwards upon that grave wherein her brightest hope lay buried—but riveted in a widely different direction! The prison of the Old Republic is, I think, the stateliest building in all Venice—but how could that lady gaze so fixedly upon it, when beneath her lay stifling her only child? Yon dark, gloomy niche, too, yawns right opposite her chamber window—what, then, could there be in its shadows—in its architecture—in its ivy-wreathed and solemn cornices—that the Marchesa di Mentoni had not wondered at a thousand times before? Nonsense!—Who does not remember that, at such a time as this, the eye, like a shattered mirror, multiplies the images of its sorrow, and sees in innumerable far-off places, the woe which is close at hand?

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Many steps above the Marchesa, and within the arch of the water-gate, stood, in full dress, the Satyr-like figure of Mentoni himself. He was occasionally occupied in thrumming a guitar, and seemed ennuye to the very death, as at intervals he gave directions for the recovery of his child. Stupified and aghast, I had myself no power to move from the upright position I had assumed upon first hearing the shriek, and must have presented to the eyes of the agitated group a spectral and ominous appearance, as with pale countenance and rigid limbs, I floated down among them in that funereal gondola.

Illustration for Edgar Allan Poe’s story “The assignation” by Harry Clarke (1889-1931), published in 1919.

All efforts proved in vain. Many of the most energetic in the search were relaxing their exertions, and yielding to a gloomy sorrow. There seemed but little hope for the child; (how much less than for the mother!) but now, from the interior of that dark niche which has been already mentioned as forming a part of the Old Republican prison, and as fronting the lattice of the Marchesa, a figure muffled in a cloak, stepped out within reach of the light, and, pausing a moment upon the verge of the giddy descent, plunged headlong into the canal. As, in an instant afterwards, he stood with the still living and breathing child within his grasp, upon the marble flagstones by the side of the Marchesa, his cloak, heavy with the drenching water, became unfastened, and, falling in folds about his feet, discovered to the wonder-stricken spectators the graceful person of a very young man, with the sound of whose name the greater part of Europe was then ringing.

No word spoke the deliverer. But the Marchesa! She will now receive her child—she will press it to her heart—she will cling to its little form, and smother it with her caresses. Alas! another’s arms have taken it from the stranger—another’s arms have taken it away, and borne it afar off, unnoticed, into the palace! And the Marchesa! Her lip—her beautiful lip trembles: tears are gathering in her eyes—those eyes which, like Pliny’s acanthus, are “soft and almost liquid.” Yes! tears are gathering in those eyes—and see! the entire woman thrills throughout the soul, and the statue has started into life! The pallor of the marble countenance, the swelling of the marble bosom, the very purity of the marble feet, we behold suddenly flushed over with a tide of ungovernable crimson; and a slight shudder quivers about her delicate frame, as a gentle air at Napoli about the rich silver lilies in the grass.

Why should that lady blush! To this demand there is no answer—except that, having left, in the eager haste and terror of a mother’s heart, the privacy of her own boudoir, she has neglected to enthral her tiny feet in their slippers, and utterly forgotten to throw over her Venetian shoulders that drapery which is their due. What other possible reason could there have been for her so blushing?—for the glance of those wild appealing eyes? for the unusual tumult of that throbbing bosom?—for the convulsive pressure of that trembling hand?—that hand which fell, as Mentoni turned into the palace, accidentally, upon the hand of the stranger. What reason could there have been for the low—the singularly low tone of those unmeaning words which the lady uttered hurriedly in bidding him adieu? “Thou hast conquered,” she said, or the murmurs of the water deceived me; “thou hast conquered—one hour after sunrise—we shall meet—so let it be!”


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The tumult had subsided, the lights had died away within the palace, and the stranger, whom I now recognized, stood alone upon the flags. He shook with inconceivable agitation, and his eye glanced around in search of a gondola. I could not do less than offer him the service of my own; and he accepted the civility. Having obtained an oar at the water-gate, we proceeded together to his residence, while he rapidly recovered his self-possession, and spoke of our former slight acquaintance in terms of great apparent cordiality.

There are some subjects upon which I take pleasure in being minute. The person of the stranger—let me call him by this title, who to all the world was still a stranger—the person of the stranger is one of these subjects. In height he might have been below rather than above the medium size: although there were moments of intense passion when his frame actually expanded and belied the assertion. The light, almost slender symmetry of his figure, promised more of that ready activity which he evinced at the Bridge of Sighs, than of that Herculean strength which he has been known to wield without an effort, upon occasions of more dangerous emergency. With the mouth and chin of a deity—singular, wild, full, liquid eyes, whose shadows varied from pure hazel to intense and brilliant jet—and a profusion of curling, black hair, from which a forehead of unusual breadth gleamed forth at intervals all light and ivory—his were features than which I have seen none more classically regular, except, perhaps, the marble ones of the Emperor Commodus. Yet his countenance was, nevertheless, one of those which all men have seen at some period of their lives, and have never afterwards seen again. It had no peculiar—it had no settled predominant expression to be fastened upon the memory; a countenance seen and instantly forgotten—but forgotten with a vague and never-ceasing desire of recalling it to mind. Not that the spirit of each rapid passion failed, at any time, to throw its own distinct image upon the mirror of that face—but that the mirror, mirror-like, retained no vestige of the passion, when the passion had departed.

Upon leaving him on the night of our adventure, he solicited me, in what I thought an urgent manner, to call upon him very early the next morning. Shortly after sunrise, I found myself accordingly at his Palazzo, one of those huge structures of gloomy, yet fantastic pomp, which tower above the waters of the Grand Canal in the vicinity of the Rialto. I was shown up a broad winding staircase of mosaics, into an apartment whose unparalleled splendor burst through the opening door with an actual glare, making me blind and dizzy with luxuriousness.

I knew my acquaintance to be wealthy. Report had spoken of his possessions in terms which I had even ventured to call terms of ridiculous exaggeration. But as I gazed about me, I could not bring myself to believe that the wealth of any subject in Europe could have supplied the princely magnificence which burned and blazed around.

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Although, as I say, the sun had arisen, yet the room was still brilliantly lighted up. I judge from this circumstance, as well as from an air of exhaustion in the countenance of my friend, that he had not retired to bed during the whole of the preceding night. In the architecture and embellishments of the chamber, the evident design had been to dazzle and astound. Little attention had been paid to the decora of what is technically called keeping, or to the proprieties of nationality. The eye wandered from object to object, and rested upon none—neither the grotesques of the Greek painters, nor the sculptures of the best Italian days, nor the huge carvings of untutored Egypt. Rich draperies in every part of the room trembled to the vibration of low, melancholy music, whose origin was not to be discovered. The senses were oppressed by mingled and conflicting perfumes, reeking up from strange convolute censers, together with multitudinous flaring and flickering tongues of emerald and violet fire. The rays of the newly risen sun poured in upon the whole, through windows, formed each of a single pane of crimson-tinted glass. Glancing to and fro, in a thousand reflections, from curtains which rolled from their cornices like cataracts of molten silver, the beams of natural glory mingled at length fitfully with the artificial light, and lay weltering in subdued masses upon a carpet of rich, liquid-looking cloth of Chili gold.

“Ha! ha! ha!—ha! ha! ha!”—laughed the proprietor, motioning me to a seat as I entered the room, and throwing himself back at full-length upon an ottoman. “I see,” said he, perceiving that I could not immediately reconcile myself to the bienseance of so singular a welcome—“I see you are astonished at my apartment—at my statues—my pictures—my originality of conception in architecture and upholstery! absolutely drunk, eh, with my magnificence? But pardon me, my dear sir, (here his tone of voice dropped to the very spirit of cordiality,) pardon me for my uncharitable laughter. You appeared so utterly astonished. Besides, some things are so completely ludicrous, that a man must laugh or die. To die laughing, must be the most glorious of all glorious deaths! Sir Thomas More—a very fine man was Sir Thomas More—Sir Thomas More died laughing, you remember. Also in the Absurdities of Ravisius Textor, there is a long list of characters who came to the same magnificent end. Do you know, however,” continued he musingly, “that at Sparta (which is now Palæ; ochori,) at Sparta, I say, to the west of the citadel, among a chaos of scarcely visible ruins, is a kind of socle, upon which are still legible the letters AAEM. They are undoubtedly part of PEAAEMA. Now, at Sparta were a thousand temples and shrines to a thousand different divinities. How exceedingly strange that the altar of Laughter should have survived all the others! But in the present instance,” he resumed, with a singular alteration of voice and manner, “I have no right to be merry at your expense. You might well have been amazed. Europe cannot produce anything so fine as this, my little regal cabinet. My other apartments are by no means of the same order—mere ultras of fashionable insipidity. This is better than fashion—is it not? Yet this has but to be seen to become the rage—that is, with those who could afford it at the cost of their entire patrimony. I have guarded, however, against any such profanation. With one exception, you are the only human being besides myself and my valet, who has been admitted within the mysteries of these imperial precincts, since they have been bedizzened as you see!”

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I bowed in acknowledgment—for the overpowering sense of splendor and perfume, and music, together with the unexpected eccentricity of his address and manner, prevented me from expressing, in words, my appreciation of what I might have construed into a compliment.

“Here,” he resumed, arising and leaning on my arm as he sauntered around the apartment, “here are paintings from the Greeks to Cimabue, and from Cimabue to the present hour. Many are chosen, as you see, with little deference to the opinions of Virtu. They are all, however, fitting tapestry for a chamber such as this. Here, too, are some chefs d’oeuvre of the unknown great; and here, unfinished designs by men, celebrated in their day, whose very names the perspicacity of the academies has left to silence and to me. What think you,” said he, turning abruptly as he spoke—“what think you of this Madonna della Pieta?”

“It is Guido’s own!” I said, with all the enthusiasm of my nature, for I had been poring intently over its surpassing loveliness. “It is Guido’s own!—how could you have obtained it?—she is undoubtedly in painting what the Venus is in sculpture.”

“Ha!” said he thoughtfully, “the Venus—the beautiful Venus?—the Venus of the Medici?—she of the diminutive head and the gilded hair? Part of the left arm (here his voice dropped so as to be heard with difficulty,) and all the right, are restorations; and in the coquetry of that right arm lies, I think, the quintessence of all affectation. Give me the Canova! The Apollo, too, is a copy—there can be no doubt of it—blind fool that I am, who cannot behold the boasted inspiration of the Apollo! I cannot help—pity me!—I cannot help preferring the Antinous. Was it not Socrates who said that the statuary found his statue in the block of marble? Then Michael Angelo was by no means original in his couplet—

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‘Non ha l’ottimo artista alcun concetto
Che un marmo solo in se non circunscriva.’”

It has been, or should be remarked, that, in the manner of the true gentleman, we are always aware of a difference from the bearing of the vulgar, without being at once precisely able to determine in what such difference consists. Allowing the remark to have applied in its full force to the outward demeanor of my acquaintance, I felt it, on that eventful morning, still more fully applicable to his moral temperament and character. Nor can I better define that peculiarity of spirit which seemed to place him so essentially apart from all other human beings, than by calling it a habit of intense and continual thought, pervading even his most trivial actions—intruding upon his moments of dalliance—and interweaving itself with his very flashes of merriment—like adders which writhe from out the eyes of the grinning masks in the cornices around the temples of Persepolis.

I could not help, however, repeatedly observing, through the mingled tone of levity and solemnity with which he rapidly descanted upon matters of little importance, a certain air of trepidation—a degree of nervous unction in action and in speech—an unquiet excitability of manner which appeared to me at all times unaccountable, and upon some occasions even filled me with alarm. Frequently, too, pausing in the middle of a sentence whose commencement he had apparently forgotten, he seemed to be listening in the deepest attention, as if either in momentary expectation of a visiter, or to sounds which must have had existence in his imagination alone.

It was during one of these reveries or pauses of apparent abstraction, that, in turning over a page of the poet and scholar Politian’s beautiful tragedy “The Orfeo,” (the first native Italian tragedy,) which lay near me upon an ottoman, I discovered a passage underlined in pencil. It was a passage towards the end of the third act—a passage of the most heart-stirring excitement—a passage which, although tainted with impurity, no man shall read without a thrill of novel emotion—no woman without a sigh. The whole page was blotted with fresh tears; and, upon the opposite interleaf, were the following English lines, written in a hand so very different from the peculiar characters of my acquaintance, that I had some difficulty in recognising it as his own:—

     Thou wast that all to me, love,
     For which my soul did pine—
     A green isle in the sea, love,
     A fountain and a shrine,
     All wreathed with fairy fruits and flowers;
     And all the flowers were mine.
     Ah, dream too bright to last!
     Ah, starry Hope, that didst arise
     But to be overcast!
     A voice from out the Future cries,
     “Onward!”—but o’er the Past
     (Dim gulf!) my spirit hovering lies,
     Mute—motionless—aghast!
     For alas!  alas!  with me
     The light of life is o’er.
     “No more—no more—no more,”
      (Such language holds the solemn sea
     To the sands upon the shore,)
     Shall bloom the thunder-blasted tree,
     Or the stricken eagle soar!
     Now all my hours are trances;
     And all my nightly dreams
     Are where the dark eye glances,
     And where thy footstep gleams,
     In what ethereal dances,
     By what Italian streams.
     Alas!  for that accursed time
     They bore thee o’er the billow,
     From Love to titled age and crime,
     And an unholy pillow!—
     From me, and from our misty clime,
     Where weeps the silver willow!

That these lines were written in English—a language with which I had not believed their author acquainted—afforded me little matter for surprise. I was too well aware of the extent of his acquirements, and of the singular pleasure he took in concealing them from observation, to be astonished at any similar discovery; but the place of date, I must confess, occasioned me no little amazement. It had been originally written London, and afterwards carefully overscored—not, however, so effectually as to conceal the word from a scrutinizing eye. I say, this occasioned me no little amazement; for I well remember that, in a former conversation with a friend, I particularly inquired if he had at any time met in London the Marchesa di Mentoni, (who for some years previous to her marriage had resided in that city,) when his answer, if I mistake not, gave me to understand that he had never visited the metropolis of Great Britain. I might as well here mention, that I have more than once heard, (without, of course, giving credit to a report involving so many improbabilities,) that the person of whom I speak, was not only by birth, but in education, an Englishman.

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“There is one painting,” said he, without being aware of my notice of the tragedy—“there is still one painting which you have not seen.” And throwing aside a drapery, he discovered a full-length portrait of the Marchesa Aphrodite. Human art could have done no more in the delineation of her superhuman beauty. The same ethereal figure which stood before me the preceding night upon the steps of the Ducal Palace, stood before me once again. But in the expression of the countenance, which was beaming all over with smiles, there still lurked (incomprehensible anomaly!) that fitful stain of melancholy which will ever be found inseparable from the perfection of the beautiful. Her right arm lay folded over her bosom. With her left she pointed downward to a curiously fashioned vase. One small, fairy foot, alone visible, barely touched the earth; and, scarcely discernible in the brilliant atmosphere which seemed to encircle and enshrine her loveliness, floated a pair of the most delicately imagined wings. My glance fell from the painting to the figure of my friend, and the vigorous words of Chapman’s Bussy D’Ambois, quivered instinctively upon my lips:

“He is up
There like a Roman statue! He will stand
Till Death hath made him marble!”

“Come,” he said at length, turning towards a table of richly enamelled and massive silver, upon which were a few goblets fantastically stained, together with two large Etruscan vases, fashioned in the same extraordinary model as that in the foreground of the portrait, and filled with what I supposed to be Johannisberger. “Come,” he said, abruptly, “let us drink! It is early—but let us drink. It is indeed early,” he continued, musingly, as a cherub with a heavy golden hammer made the apartment ring with the first hour after sunrise: “It is indeed early—but what matters it? let us drink! Let us pour out an offering to yon solemn sun which these gaudy lamps and censers are so eager to subdue!” And, having made me pledge him in a bumper, he swallowed in rapid succession several goblets of the wine.

“To dream,” he continued, resuming the tone of his desultory conversation, as he held up to the rich light of a censer one of the magnificent vases—“to dream has been the business of my life. I have therefore framed for myself, as you see, a bower of dreams. In the heart of Venice could I have erected a better? You behold around you, it is true, a medley of architectural embellishments. The chastity of Ionia is offended by antediluvian devices, and the sphynxes of Egypt are outstretched upon carpets of gold. Yet the effect is incongruous to the timid alone. Proprieties of place, and especially of time, are the bugbears which terrify mankind from the contemplation of the magnificent. Once I was myself a decorist; but that sublimation of folly has palled upon my soul. All this is now the fitter for my purpose. Like these arabesque censers, my spirit is writhing in fire, and the delirium of this scene is fashioning me for the wilder visions of that land of real dreams whither I am now rapidly departing.” He here paused abruptly, bent his head to his bosom, and seemed to listen to a sound which I could not hear. At length, erecting his frame, he looked upwards, and ejaculated the lines of the Bishop of Chichester:

“Stay for me there! I will not fail
To meet thee in that hollow vale.”

In the next instant, confessing the power of the wine, he threw himself at full-length upon an ottoman.

A quick step was now heard upon the staircase, and a loud knock at the door rapidly succeeded. I was hastening to anticipate a second disturbance, when a page of Mentoni’s household burst into the room, and faltered out, in a voice choking with emotion, the incoherent words, “My mistress!—my mistress!—Poisoned!—poisoned! Oh, beautiful—oh, beautiful Aphrodite!”

Bewildered, I flew to the ottoman, and endeavored to arouse the sleeper to a sense of the startling intelligence. But his limbs were rigid—his lips were livid—his lately beaming eyes were riveted in death. I staggered back towards the table—my hand fell upon a cracked and blackened goblet—and a consciousness of the entire and terrible truth flashed suddenly over my soul.

Source: The Gutenberg project

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