the works of edgar allan poe-5-第2章

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began。　It　is　not　too　much　to　say；　that　the　deliberate　employer　of　a
cut…glass　shade；　is　either　radically　deficient　in　taste；　or　blindly
subservient　to　the　caprices　of　fashion。　The　light　proceeding　from　one　of
these　gaudy　abominations　is　unequal　broken；　and　painful。　It　alone　is
sufficient　to　mar　a　world　of　good　effect　in　the　furniture　subjected　to　its
influence。　Female　loveliness；　in　especial；　is　more　than　one…half
disenchanted　beneath　its　evil　eye。

　　　　In　the　matter　of　glass；　generally；　we　proceed　upon　false　principles。
Its　leading　feature　is　_glitter　…　_and　in　that　one　word　how　much　of　all
that　is　detestable　do　we　express　！　Flickering；　unquiet　lights；　are
_sometimes　_pleasing　…　to　children　and　idiots　always　so　…　but　in　the
embellishment　of　a　room　they　should　be　scrupulously　avoided。　In　truth；
even　strong　_steady　_lights　are　inadmissible。　The　huge　and　unmeaning　glass
chandeliers；　prism…cut；　gas…lighted；　and　without　shade；　which　dangle　in
our　most　fashionable　drawing…rooms；　may　be　cited　as　the　quintessence　of
all　that　is　false　in　taste　or　preposterous　in　folly。

　　　　The　rage　for　_glitter…_because　its　idea　has　become　as　we　before
observed；　confounded　with　that　of　magnificence　in　the　abstract…has　led　us；
also；　to　the　exaggerated　employment　of　mirrors。　We　line　our　dwellings　with
great　British　plates；　and　then　imagine　we　have　done　a　fine　thing。　Now　the
slightest　thought　will　be　sufficient　to　convince　any　one　who　has　an　eye　at
all；　of　the　ill　effect　of　numerous　looking…glasses；　and　especially　of
large　ones。　Regarded　apart　from　its　reflection；　the　mirror　presents　a
continuous；　flat；　colourless；　unrelieved　surface；　…　a　thing　always　and
obviously　unpleasant。　Considered　as　a　reflector；　it　is　potent　in　producing
a　monstrous　and　odious　uniformity：　and　the　evil　is　here　aggravated；　not　in
merely　direct　proportion　with　the　augmentation　of　its　sources；　but　in　a
ratio　constantly　increasing。　In　fact；　a　room　with　four　or　five　mirrors
arranged　at　random；　is；　for　all　purposes　of　artistic　show；　a　room　of　no
shape　at　all。　If　we　add　to　this　evil；　the　attendant　glitter　upon　glitter；
we　have　a　perfect　farrago　of　discordant　and　displeasing　effects。　The
veriest　bumpkin；　on　entering　an　apartment　so　bedizzened；　would　be
instantly　aware　of　something　wrong；　although　he　might　be　altogether　unable
to　assign　a　cause　for　his　dissatisfaction。　But　let　the　same　person　be　led
into　a　room　tastefully　furnished；　and　he　would　be　startled　into　an
exclamation　of　pleasure　and　surprise。

　　　　It　is　an　evil　growing　out　of　our　republican　institutions；　that　here　a
man　of　large　purse　has　usually　a　very　little　soul　which　he　keeps　in　it。
The　corruption　of　taste　is　a　portion　or　a　pendant　of　the　dollar…manufac
sure。　As　we　grow　rich；　our　ideas　grow　rusty。　It　is；　therefore；　not　among
_our　_aristocracy　that　we　must　look　（if　at　all；　in　Appallachia）；　for　the
spirituality　of　a　British　_boudoir。　_But　we　have　seen　apartments　in　the
tenure　of　Americans　of　moderns　＇possibly　〃modest〃　or　〃moderate〃＇　means；
which；　in　negative　merit　at　least；　might　vie　with　any　of　the　_or…molu'd
_cabinets　of　our　friends　across　the　water。　Even　_now_；　there　is　present　to
our　mind's　eye　a　small　and　not；　ostentatious　chamber　with　whose
decorations　no　fault　can　be　found。　The　proprietor　lies　asleep　on　a　sofa　…
the　weather　is　cool　…　the　time　is　near　midnight：　arc　will　make　a　sketch　of
the　room　during　his　slumber。

　　　　It　is　oblong　…　some　thirty　feet　in　length　and　twenty…five　in　breadth　…
a　shape　affording　the　best（ordinary）　opportunities　for　the　adjustment　of
furniture。　It　has　but　one　door　…　by　no　means　a　wide　one　…　which　is　at　one
end　of　the　parallelogram；　and　but　two　windows；　which　are　at　the　other。
These　latter　are　large；　reaching　down　to　the　floor　…　have　deep　recesses　…
and　open　on　an　Italian　_veranda。　_Their　panes　are　of　a　crimson…tinted
glass；　set　in　rose…wood　framings；　more　massive　than　usual。　They　are
curtained　within　the　recess；　by　a　thick　silver　tissue　adapted　to　the　shape
of　the　window；　and　hanging　loosely　in　small　volumes。　Without　the　recess
are　curtains　of　an　exceedingly　rich　crimson　silk；　fringed　with　a　deep
network　of　gold；　and　lined　with　silver　tissue；　which　is　the　material　of
the　exterior　blind。　There　are　no　cornices；　but　the　folds　of　the　whole
fabric　（which　are　sharp　rather　than　massive；　and　have　an　airy　appearance）；
issue　from　beneath　a　broad　entablature　of　rich　giltwork；　which　encircles
the　room　at　the　junction　of　the　ceiling　and　walls。　The　drapery　is　thrown
open　also；　or　closed；　by　means　of　a　thick　rope　of　gold　loosely　enveloping
it；　and　resolving　itself　readily　into　a　knot；　no　pins　or　other　such
devices　are　apparent。　The　colours　of　the　curtains　and　their　fringe　…　the
tints　of　crimson　and　gold　…　appear　everywhere　in　profusion；　and　determine
the　_character　_of　the　room。　The　carpet　…　of　Saxony　material　…　is　quite
half　an　inch　thick；　and　is　of　the　same　crimson　ground；　relieved　simply　by
the　appearance　of　a　gold　cord　（like　that　festooning　the　curtains）　slightly
relieved　above　the　surface　of　the　_ground；　_and　thrown　upon　it　in　such　a
manner　as　to　form　a　succession　of　short　irregular　curves　…　one
occasionally　overlaying　the　other。　The　walls　are　prepared　with　a　glossy
paper　of　a　silver　gray　tint；　spotted　with　small　Arabesque　devices　of　a
fainter　hue　of　the　prevalent　crimson。　Many　paintings　relieve　the　expanse
of　paper。　These　are　chiefly　landscapes　of　an　imaginative　cast…such　as　the
fairy　grottoes　of　Stanfield；　or　the　lake　of　the　Dismal　Swamp　of　Chapman。
There　are；　nevertheless；　three　or　four　female　heads；　of　an　ethereal
beauty…portraits　in　the　manner　of　Sully。　The　tone　of　each　picture　is　warm；
but　dark。　There　are　no　〃brilliant　effects。〃　_Repose　_speaks　in　all。　Not
one　is　of　small　size。　Diminutive　paintings　give　that　_spotty　_look　to　a
room；　which　is　the　blemish　of　so　many　a　fine　work　of　Art　overtouched。　The
frames　are　broad　but　not　deep；　and　richly　carved；　without　being　_dulled
_or　filagreed。　They　have　the　whole　lustre　of　burnished　gold。　They　lie　flat
on　the　walls；　and　do　not　hang　off　with　cords。　The　designs　themselves　are
often　seen　to　better　advantage　in　this　latter　position；　but　the　general
appearance　of　the　chamber　is　injured。　But　one　mirror　…　and　this　not　a　very
large　one　…　is　visible。　In　shape　it　is　nearly　circular　…　and　it　is　hung　so
that　a　reflection　of　the　person　can　be　obtained　from　it　in　none　of　the
ordinary　sitting…places　of　the　room。　Two　large　low　sofas　of　rosewood　and
crimson　silk；　gold…flowered；　form　the　only　seats；　with　the　exception　of
two　light　conversation　chairs；　also　of　rose…wood。　There　is　a　pianoforte
（rose…wood；　also）；　without　cover；　and　thrown　open。　An　octagonal　table；
formed　altogether　of　the　richest　gold…threaded　marble；　is　placed　near　one
of　the　sofas。　This　is　also　without　cover　…　the　drapery　of　the　curtains　has
been　thought　sufficient。。　Four　large　and　gorgeous　Sevres　vases；　in　which
bloom　a　profusion　of　sweet　and　vivid　flowers；　occupy　the　slightly　rounded
angles　of　the　room。　A　tall　candelabrum；　bearing　a　small　antique　lamp　with
highly　perfumed　oil；　is　standing　near　the　head　of　my　sleeping　friend。　Some
light　and　graceful　hanging　shelves；　with　golden　edges　and　crimson　silk
cords　with　gold　tassels；　sustain　two　or　three　hundred　magnificently　bound
books。　Beyond　these　things；　there　is　no　furniture；　if　we　except　an　Argand
lamp；　with　a　plain　crimson…tinted　ground　glass　shade；　which　depends　from
He　lofty　vaulted　ceiling　by　a　single　slender　gold　chain；　and　throws　a
tranquil　but　magical　radiance　over　all。



~~~　End　Of　Text　~~~



A　TALE　OF　JERUSALEM

Intensos　rigidarn　in　frontern　ascendere　canos

Passus　erat

　_　　　…LucanDe　Catone_

…a　bristly　_bore。_

_Translation_

LET　us　hurry　to　the　walls；〃　said　Abel…Phittim　to　Buzi…Ben…Levi　and　Simeon
the　Pharisee；　on　the　tenth　day　of　the　month　Thammuz；　in　the　year　of　the
world　three　thousand　nine　hundred　and　fortyonelet　us　hasten　to　the
ramparts　adjoining　the　gate　of　Benjamin；　which　is　in　the　city　of　David；
and　overlooking　the　camp　of　the　uncircumcised；　for　it　is　the　last　hour　of
the　fourth　watch；　being　sunrise；　and　the　idolaters；　in　fulfilment　of　the
promise　of　Pompey；　should　be　awaiting　us　with　the　lambs　for　the
sacrific