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en a revived memory of the trap-door down which Lytton as a boy had "peeped with bristling hair into the shadowy abysses of hellhole." In _Glenallan_,[126] an early fragment, we find promising material for a tale of mystery--a villain with a "strange and sinister expression," a boy who, like the youthful Shelley, steals forth by night to graveyards, hoping to attain to fearful secrets, and an aged servant, a living chronicle of horrors, who relates the doings of an Irish wizard, Morshed Tyrone, of such awful power that the spirits of the earth, air and ocean ministered to him. In _Godolphin_ (1833) there is an astrologer with the furrowed brow and awful eye, so common among the people of terror, and a strangely gifted girl, Lucilla, who turns soothsayer. But when Bulwer Lytton attempts a supernatural romance he leaves far behind him the sphere of Gothic terrors and soars into rarefied, exalted regions that inspire awe rather than horror. The Dweller of the Threshold in _Zanoni_ is no red-cloaked, demoniacal figure springing from a trap-door with a deafening clap of thunder, but a "Colossal Shadow" brooding over the crater of Vesuvius. The romance, _Zanoni_ (1842), which Lytton considered the greatest of his works and which Carlyle praised with what now seems extravagant fervour, was based on an earlier sketch, _Zicci_ (1838), and embodies a complicated theory which he had conceived several years earlier after reading some mediaeval treatises on astrology and the occult sciences. While his mind was occupied with these studies, the character of Mejnour and the main outlines of the story were inspired by a dream, which he related to his son. According to Lytton's theory, the air is peopled with Intelligences, of whom some are favourable, others hostile to man. The earth contains certain plants, which, rightly used, have power to arrest the decay of the human body, and to enable man, by quickening his physical senses and mental gifts, to perceive the aerial beings and to discover the secrets of nature. This supernatural knowledge is in possession of a brotherhood of whom two only, Mejnour and his pupil Zanoni, are in existence. The initiation involves the surrender of all violent passions and emotions, and the neophyte must be brought into contact with the powerful and malignant being called the Dweller of the Threshold: "Whose form of giant mould No mortal eye can fixed behold," Mejnour and Zanoni are suppose
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