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14 who voluntarily exposes his Mute to the gaze of all comers should recall the fate of King Candaules.

The world still thinks of Poe as a "luckless man of genius." I recently heard him mentioned as "one whom everybody seems chartered to misrepresent, decry or slander." But it seems to me that his ill-luck ended with his pitiable death, and that since then his defence has been persistent, and his fame of as steadfast growth as a suffering and gifted author could pray for in his hopeful hour. Griswold's decrial and slander turned the current in his favor. Critics and biographers have come forward with successive refutations, with tributes to his character, with new editions of his works. His own letters and the minute incidents of his career are before us; the record, good and bad, is widely known. No appellor has received more tender and forgiving judgment. His mishaps in life belonged to his region and period, perchance still more to his own infirmity of will. Doubtless his environment was not one to guard a fine-grained, ill-balanced nature from perils without and within. His strongest will, to be lord of himself, gained for him "that heritage of woe." He confessed himself the bird's unhappy master, the stricken sufferer of this poem. But his was a full share of that dramatic temper which exults in the presage of its own doom. There is a delight in playing one's high part: we are all gladiators, crying Ave Imperator! To quote Burke's matter of fact: "In grief the pleasure is still uppermost, and the affliction we suffer has no resemblance to absolute pain, which is always odious, and which we endeavor to shake off as soon as possible." Poe went farther, and was an artist even in the tragedy of his career. If, according to his own belief, sadness and the vanishing of beauty are the highest poetic themes, and poetic feeling the keenest earthly pleasure. then the sorrow and darkness of his broken life were not without their frequent compensation.

In the following pages, we have a fresh example of an artists genius characterizing his interpretation of a famous poem. Gustave Doré, the Last work of whose pencil is before us, was not the painter, or even the draughtsman, for realists demanding truth of tone, figure, and perfection. Such matters concerned him less than to make shape and distance, light and shade, assist his purpose,—which was to excite the soul, the imagination, of the looker on. This he did by arousing our sense of awe, through marvellous and often sublime conceptions of things unutterable and full of gloom or glory. It is well said that if his works were not great paintings, as pictures they are great indeed. As a "literary artist," and such he was, his force was in direct ratio with the dramatic invention of his author, with the brave audacities of the spirit that kindled his own. Hence his success with Rabelais, with "Le Juif-Errant" "Les Contes Drolatiques," and "Don Quixote," and hence. conversely, his failure to express the beauty of Tennyson's Idyls, of "Il Paradiso," of the Hebrew pastorals, and other texts requiring exaltation, or sweetness and repose. He was a born master of the grotesque, and by a special insight could portray the spectres of a haunted brain. We see objects as his personages saw them, and with the very eyes of the Wandering Jew, the bewildered Don, or the goldsmith's daughter whose fancy so magnifies the King in the shop on the Pont-au-Change. It was in the nature of things that he should be attracted to each masterpiece of verse or prose that I have termed unique. The lower kingdoms were called into his service; his rocks, trees and mountains, the sky itself, are animate with motive and diablerie. Had he lived to illustrate Shakespeare, we should have seen a remarkable treatment of Caliban, the Witches, the storm in "Lear"; but doubtless should have questioned his ideals of Imagen or Miranda. Beauty pure and simple, and the perfect excellence thereof, he rarely seemed to comprehend.

Yet there is beauty in his designs for the "Ancient Mariner," unreal as they are, and a consecutiveness rare in a series by Doré. The Rime afforded him a prolonged story. with many shiftings of the scene. In The Raven sound and color preserve their monotone and we have no change of place or occasion. What is the result? Doré proffers a series of variations upon the theme as he conceived it, "the enigma of death and the hallucination of an inconsolable soul." In some of these drawings his faults are evident; others reveal his powerful originality. and the best qualities in which, as a draughtsman, he stood alone. Plainly there was something in common between the working moods of Poe and Doré. This would appear more dearly had the latter tried his hand upon the "Tales of the Grotesque and Arabesque." Both resorted often to the elf-land of fantasy and romance. In melodramatic feats they both, through their command of the supernatural, avoided the danger-line between the ideal and the absurd. Poe was the truer worshipper of the Beautiful; his love for it was a consecrating passion, and herein he parts company with his illustrator. Poet or artist, Death at last transfigures all: within the shadow of his sable harbinger, Vedder's symbolic crayon aptly sets them face to face, but enfolds them with the mantle of immortal wisdom and power. An American woman has wrought the image of a star-eyed Genius with the final torch, the exquisite semblance of one whose vision beholds, but whose lips may not utter, the mysteries of a land beyond "the door of a legnded tomb."