Collected Works of Poe by Edgar Allan Poe (novel books to read .TXT) 📕

THE WORKS OF EDGAR ALLAN POE

IN FIVE VOLUMES

Contents

Philosophy of Furniture

A Tale of Jerusalem

The Sphinx

Hop Frog

The Man of the Crowd

Never Bet the Devill Your Head

Thou Art the Man

Why the Little Frenchman Wears his Hand in a Sling

Bon-Bon

Some words with a Mummy

The Poetic Principle

Old English Poetry

POEMS

Dedication

Preface

Poems of Later Life

The Raven

The Bells

Ulalume

To Helen

Annabel Lee

A Valentine

An Enigma

To my Mother

For Annie

To F----

To Frances S. Osgood

Eldorado

Eulalie

A Dream within a Dream

To Marie Louise (Shew)

To the Same

The City in the Sea

The Sleeper

Bridal Ballad

Notes

Poems of Manhood

Lenore

To One in Paradise

The Coliseum

The Haunted Palace

The Conqueror Worm

Silence

Dreamland

Hymn

To Zante

Scenes from "Politian"

Note

Poems of Youth

Introduction (1831)

Sonnet--To Science

Al Aaraaf

Tamerlane

To Helen

The Valley of Unrest

Israfel

To -- ("The Bowers Whereat, in Dreams I See")

To -- ("I Heed not That my Earthly Lot")

To the River --

Song

A Dream

Romance

Fairyland

The Lake To--

"The Happiest Day"

Imitation

Hymn. Translation from the Greek

"In Youth I Have Known One"

A Paean

Notes

Doubtful Poems

Alone

To Isadore

The Village Street

The Forest Reverie

Notes

PHILOSOPHY OF FURNITURE.

In the internal decoration, if not in the external architecture of their residences, the English are supreme. The Italians have but little sentiment beyond marbles and colours. In France, _meliora probant, deteriora _sequuntur - the people are too much a race of gadabouts to maintain those household proprieties of which, indeed, they have a delicate appreciation, or at least the elements of a proper sense. The Chinese and most of the eastern races have a warm but inappropriate fancy. The Scotch are _poor _decorists. The Dutch have, perhaps, an indeterminate idea that a curtain is not a cabbage. In Spain they are _all _curtains - a nation of hangmen. The Russians do not furnish. The Hottentots and Kickapoos are very well in their way. The Yankees alone are preposterous. How this happens, it is not difficult to see. We have no aristocracy of blood, and having therefore as a natural, and indeed as an inevitable thing, fashioned for ourselves an aristocracy of dollars, the _display of wealth _has here to take the place and perform the office of the heraldic display in monarchical countries. By a transition readily understood, and which might have been as readily foreseen, we have been brought to merge in simple _show _our notions of taste itself To speak less abstractly. In England, for example, no mere parade of costly appurtenances would be so likely as with us, to create an impression of the beautiful in respect to the appurtenances themselves - or of taste as regards the proprietor: - this for the reason, first, that wealth is not, in England, the loftiest object of ambition as constituting a nobility; and secondly, that there, the true nobility of blood, confining itself within the strict limits of legitimate taste, rather avoids than affects that mere costliness in which a _parvenu _rivalry may at any time be successfully attempted. The people _will _imitate the nobles, and the result is a thorough diffusion of the proper feeling. But in America, the coins current being the sole arms of the aristocracy, their display may be said, in general, to be the sole means of the aristocratic distinction; and the populace, looking always upward for models,,are insensibly led to confound the two entirely separate ideas of magnificence and beauty. In short, the cost of an article of furniture has at length come to be, with us, nearly the sole test of its merit in a decorative point of view - and this test, once established, has led the way to many analogous errors, readily traceable to the one primitive folly. There could be nothing more directly offensive to the eye of an artist than the interior of what is termed in the United States - that is to say, in Appallachia - a well-furnished apartment. Its most usual defect is a want of keeping. We speak of the keeping of a room as we would of the keeping of a picture - for both the picture and the room are amenable to those undeviating principles which regulate all varieties of art; and very nearly the same laws by which we decide on the higher merits of a painting, suffice for decision on the adjustment of a chamber. A want of keeping is observable sometimes in the character of the several pieces of furniture, but generally in their colours or modes of adaptation to use _Very _often the eye is offended by their inartistic arrangement. Straight lines are too prevalent - too uninterruptedly continued - or clumsily interrupted at right angles. If curved lines occur, they are repeated into unpleasant uniformity. By undue precision, the appearance of many a fine apartment is utterly spoiled. Curtains are rarely well disposed, or well chosen in respect to other decorations. With formal furniture, curtains are out of place; and an extensive volume of drapery of any kind is, under any circumstance, irreconcilable with good taste - the proper quantum, as well as the proper adjustment, depending upon the character of the general effect. Carpets are better understood of late than of ancient days, but we still very frequently err in their patterns and colours. The soul of the apartment is the carpet. From it are deduced not only the hues but the forms of all objects incumbent. A judge at common law may be an ordinary man; a good judge of a carpet _must be _a genius. Yet we have heard discoursing of carpets, with the air "_d'un mouton qui reve," _fellows who should not and who could not be entrusted with the management of their own _moustaches. _Every one knows that a large floor _may _have a covering of large figures, and that a small one must have a covering of small - yet this is not all the knowledge in the world. As regards texture, the Saxony is alone admissible. Brussels is the preterpluperfect tense of fashion, and Turkey is taste in its dying agonies. Touching pattern - a carpet should _not _be bedizzened out like a Riccaree Indian - all red chalk, yellow ochre, and cock's feathers. In brief - distinct grounds, and vivid circular or cycloid figures, _of no meaning, _are here Median laws. The abomination of flowers, or representations of well-known objects of any kind, should not be endured within the limits of Christendom. Indeed, whether on carpets, or curtains, or tapestry, or ottoman coverings, all upholstery of this nature should be rigidly Arabesque. As for those antique floor-cloth & still occasionally seen in the dwellings of the rabble - cloths of huge, sprawling, and radiating devises, stripe-interspersed, and glorious with all hues, among which no ground is intelligible-these are but the wicked invention of a race of time-servers and money-lovers - children of Baal and worshippers of Mammon - Benthams, who, to spare thought and economize fancy, first cruelly invented the Kaleidoscope, and then established joint-stock companies to twirl it by steam.

_ Glare is _a leading error in the philosophy of American household decoration - an error easily recognised as deduced from the perversion of taste just specified., We are violently enamoured of gas and of glass. The former is totally inadmissible within doors. Its harsh and unsteady light offends. No one having both brains and eyes will use it. A mild, or what artists term a cool light, with its consequent warm shadows, will do wonders for even an ill-furnished apartment. Never was a more lovely thought than that of the astral lamp. We mean, of course, the astral lamp proper - the lamp of Argand, with its original plain ground-glass shade, and its tempered and uniform moonlight rays. The cut-glass shade is a weak invention of the enemy. The eagerness with which we have adopted it, partly on account of its _flashiness, _but principally on account of its _greater rest, is _a good commentary on the proposition with which we 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