Edgar Allan Poe - Edgar Allan Poe - Complete Tales and Poems The Black Cat, The Fall of the House of Usher, The Raven, The Masque of the Red Death...

·162· 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

·163· 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 my friend, I particularly inquired if he had at any ·164· 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 .

* * * * * *

“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:

·165· “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 the [ C,E: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 ·166· 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 [ C,E: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.

[ 1st pub.: The Lady’s Book, Jan 1834, as “The Visionary;” copy-text: Works ( 1850 )]

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Dicebant mihi sodales, si sepulchrum amicæ visitarem, curas meas aliquantulum fore levatas.— Ebn Zaiat .

Misery is manifold. The wretchedness of earth is multiform. Overreaching the wide horizon as the rainbow, its hues are as various as the hues of that arch—as distinct too, yet as intimately blended. Overreaching the wide horizon as the rainbow! How is it that from beauty I have derived a type of unloveliness?—from the covenant of peace, a simile of sorrow? But as, in ethics, evil is a consequence of good, so, in fact, out of joy is sorrow born. Either the memory of past bliss is the anguish of to-day, or the agonies which are have their origin in the ecstasies which might have been .