er
all. His long improvised dirges will ring for ever in my ears. Among
other things, I hold painfully in mind a certain singular perversion and
amplification of the wild air of the last waltz of Von Weber. From the
paintings over which his elaborate fancy brooded and which grew, touch
by touch, into vagueness at which I shuddered the more thrillingly,
because I shuddered knowing not why;--from these paintings (vivid as
their images now are before me) I would in vain endeavour to educe more
than a small portion which should lie within the compass of merely
written words. By the utter simplicity, by the nakedness of his designs,
he arrested and overawed attention. If ever mortal painted an idea, that
mortal was Roderick Usher. For me at least--in the circumstances then
surrounding me--there arose out of the pure abstractions which the
hypochondriac contrived to throw upon his canvas, an intensity of
intolerable awe, no shadow of which felt I ever yet in the contemplation
of the certainly glowing yet too concrete reveries of Fuseli.

One of the phantasmagoric conceptions of my friend, partaking not so
rigidly of the spirit of abstraction, may be shadowed forth, although
feebly, in words. A small picture presented the interior of an immensely
long and rectangular vault or tunnel, with low walls, smooth, white, and
without interruption or device. Certain accessory points of the design
served well to convey the idea that this excavation lay at an exceeding
depth below the surface of the earth. No outlet was observed in any
portion of its vast extent, and no torch, or other artificial source of
light, was discernible; yet a flood of intense rays rolled throughout,
and bathed the whole in a ghastly and inappropriate splendour.

I have just spoken of that morbid condition of the auditory nerve which
rendered all music intolerable to the sufferer, with the exception of
certain effects of stringed instruments. It was, perhaps, the narrow
limits to which he thus confined himself upon the guitar, which gave
birth, in great measure, to the fantastic character of his performances.
But the fervid _facility_ of his _impromptus_ could not be so accounted
for. They must have been, and were, in the notes, as well as in the
words of his wild fantasias (for he not unfrequently accompanied himself
with rhymed verbal improvisations), the result of that intense mental
collectedness and concentration to which I have previously alluded as
obser