The Slender Poe Anthology (11 page)

But here the voyager quits the vessel which has borne him so far, and descends into a light canoe of ivory, stained with arabesque devices in vivid scarlet, both within and without. The poop and beak of this boat arise high above the water, with sharp points, so that the general form is that of an irregular crescent. It lies on the surface of the bay with the proud grace of a swan. On its ermined floor reposes a single feathery paddle of satin-wood; but no oarsmen or attendant is to be seen. The guest is bidden to be of good cheer—that the fates will take care of him. The larger vessel disappears, and he is left alone in the canoe, which lies apparently motionless in the middle of the lake. While he considers what course to pursue, however, he becomes aware of a gentle movement in the fairy bark. It slowly swings itself around until its prow points toward the sun. It advances with a gentle but gradually accelerated velocity, while the slight ripples it creates seem to break about the ivory side in divinest melody—seem to offer the only possible explanation of the soothing yet melancholy music for whose unseen origin the bewildered voyager looks around him in vain.

The canoe steadily proceeds, and the rocky gate of the vista is approached, so that its depths can be more distinctly seen. To the right arise a chain of lofty hills rudely and luxuriantly wooded. It is observed, however, that the trait of exquisite
cleanness
where the bank dips into the water, still prevails. There is not one token of the usual river
d
é
bris
. To the left the character of the scene is softer and more obviously artificial. Here the bank slopes upward from the stream in a very gentle ascent, forming a broad sward of grass of a texture resembling nothing so much as velvet, and of a brilliancy of green which would bear comparison with the tint of the purest emerald. This
plateau
varies in width from ten to three hundred yards; reaching from the river-bank to a wall, fifty feet high, which extends, in an infinity of curves, but following the general direction of the river, until lost in the distance to the westward. This wall is of one continuous rock, and has been formed by cutting perpendicularly the once rugged precipice of the stream's southern bank, but no trace of the labor has been suffered to remain. The chiselled stone has the hue of ages, and is profusely overhung and overspread with the ivy, the coral honeysuckle, the eglantine, and the clematis. The uniformity of the top and bottom lines of the wall is fully relieved by occasional trees of gigantic height, growing singly or in small groups, both along the
plateau
and in the domain behind the wall, but in close proximity to it; so that frequent limbs (of the black walnut especially) reach over and dip their pendent extremities into the water. Farther back within the domain, the vision is impeded by an impenetrable screen of foliage.

These things are observed during the canoe's gradual approach to what I have called the gate of the vista. On drawing nearer to this, however, its chasm-like appearance vanishes; a new outlet from the bay is discovered to the left—in which direction the wall is also seen to sweep, still following the general course of the stream. Down this new opening the eye cannot penetrate very far; for the stream, accompanied by the wall, still bends to the left, until both are swallowed up by the leaves.

The boat, nevertheless, glides magically into the winding channel; and here the shore opposite the wall is found to resemble that opposite the wall in the straight vista. Lofty hills, rising occasionally into mountains, and covered with vegetation in wild luxuriance, still shut in the scene.

Floating gently onward, but with a velocity slightly augmented, the voyager, after many short turns, finds his progress apparently barred by a gigantic gate or rather door of burnished gold, elaborately carved and fretted, and reflecting the direct rays of the now fast-sinking sun with an effulgence that seems to wreath the whole surrounding forest in flames. This gate is inserted in the lofty wall; which here appears to cross the river at right angles. In a few moments, however, it is seen that the main body of the water still sweeps in a gentle and extensive curve to the left, the wall following it as before, while a stream of considerable volume, diverging from the principal one, makes its way, with a slight ripple, under the door, and is thus hidden from sight. The canoe falls into the lesser channel and approaches the gate. Its ponderous wings are slowly and musically expanded. The boat glides between them, and commences a rapid descent into a vast amphitheatre entirely begirt with purple mountains, whose bases are laved by a gleaming river throughout the full extent of their circuit. Meantime the whole Paradise of Arnheim bursts upon the view. There is a gush of entrancing melody; there is an oppressive sense of strange sweet odor,—there is a dream-like intermingling to the eye of tall slender Eastern trees—bosky shrubberies—flocks of golden and crimson birds—lily-fringed lakes—meadows of violets, tulips, poppies, hyacinths, and tuberoses—long intertangled lines of silver streamlets—and, upspringing confusedly from amid all, a mass of semi-Gothic, semi-Saracenic architecture sustaining itself by miracle in mid-air, glittering in the red sunlight with a hundred oriels, minarets, and pinnacles; and seeming the phantom handiwork, conjointly, of the Sylphs, of the Fairies, of the Genii and of the Gnomes.

First published as
Life in Death
in
Graham's
(1842), it sustained serious cuts when it re-appeared in the
Broadway Journal
three years later with the title it now bears. An opening passage that began “My fever had been excessive and of long duration” was eliminated, along with any mention of the intake of opium.

There is a painterly dimension to Poe's work; remember the images he wants to project onto the canvas or screen of a reader's mind come there through the skillful use of verbal description. No video camera was available.

The act of reading, indeed, is emphasized by an old novelistic device, the reading of a text within the text. The small volume “found upon the pillow” will relate the history of how the painting came to be.

Poe also presents us with one of the enduring problems every artist faces; how does one reconcile being married to Art as well as being married to another?

THE OVAL PORTRAIT

The chateau into which my valet had ventured to make forcible entrance,
rather than permit me, in my desperately wounded condition, to pass a
night in the open air, was one of those piles of commingled gloom and
grandeur which have so long frowned among the Appennines, not less in
fact than in the fancy of Mrs. Radcliffe. To all appearance it had been
temporarily and very lately abandoned. We established ourselves in one
of the smallest and least sumptuously furnished apartments. It lay in a
remote turret of the building. Its decorations were rich, yet tattered
and antique. Its walls were hung with tapestry and bedecked with
manifold and multiform armorial trophies, together with an unusually
great number of very spirited modern paintings in frames of rich golden
arabesque. In these paintings, which depended from the walls not only
in their main surfaces, but in very many nooks which the bizarre
architecture of the chateau rendered necessary
—
in these paintings my
incipient delirium, perhaps, had caused me to take deep interest; so
that I bade Pedro to close the heavy shutters of the room
—
since it was
already night
—
to light the tongues of a tall candelabrum which stood by
the head of my bed
—
and to throw open far and wide the fringed curtains
of black velvet which enveloped the bed itself. I wished all this done
that I might resign myself, if not to sleep, at least alternately to the
contemplation of these pictures, and the perusal of a small volume which
had been found upon the pillow, and which purported to criticise and
describe them.

Long
—
long I read
—
and devoutly, devotedly I gazed. Rapidly and
gloriously the hours flew by and the deep midnight came. The position of
the candelabrum displeased me, and outreaching my hand with difficulty,
rather than disturb my slumbering valet, I placed it so as to throw its
rays more fully upon the book.

But the action produced an effect altogether unanticipated. The rays of
the numerous candles (for there were many) now fell within a niche of
the room which had hitherto been thrown into deep shade by one of the
bed-posts. I thus saw in vivid light a picture all unnoticed before. It
was the portrait of a young girl just ripening into womanhood. I glanced
at the painting hurriedly, and then closed my eyes. Why I did this
was not at first apparent even to my own perception. But while my lids
remained thus shut, I ran over in my mind my reason for so shutting
them. It was an impulsive movement to gain time for thought
—
to make
sure that my vision had not deceived me
—
to calm and subdue my fancy for
a more sober and more certain gaze. In a very few moments I again looked
fixedly at the painting.

That I now saw aright I could not and would not doubt; for the first
flashing of the candles upon that canvas had seemed to dissipate the
dreamy stupor which was stealing over my senses, and to startle me at
once into waking life.

The portrait, I have already said, was that of a young girl. It was a
mere head and shoulders, done in what is technically termed a vignette
manner; much in the style of the favorite heads of Sully. The arms, the
bosom, and even the ends of the radiant hair melted imperceptibly into
the vague yet deep shadow which formed the back-ground of the whole. The
frame was oval, richly gilded and filigreed in
Moresque
. As a thing of
art nothing could be more admirable than the painting itself. But it
could have been neither the execution of the work, nor the immortal
beauty of the countenance, which had so suddenly and so vehemently moved
me. Least of all, could it have been that my fancy, shaken from its half
slumber, had mistaken the head for that of a living person. I saw at
once that the peculiarities of the design, of the
vignetting
, and of the
frame, must have instantly dispelled such idea
—
must have prevented even
its momentary entertainment. Thinking earnestly upon these points, I
remained, for an hour perhaps, half sitting, half reclining, with my
vision riveted upon the portrait. At length, satisfied with the true
secret of its effect, I fell back within the bed. I had found the spell
of the picture in an absolute
life-likeliness
of expression, which, at
first startling, finally confounded, subdued, and appalled me. With deep
and reverent awe I replaced the candelabrum in its former position. The
cause of my deep agitation being thus shut from view, I sought eagerly
the volume which discussed the paintings and their histories. Turning
to the number which designated the oval portrait, I there read the vague
and quaint words which follow:

“She was a maiden of rarest beauty, and not more lovely than full of
glee. And evil was the hour when she saw, and loved, and wedded the
painter. He, passionate, studious, austere, and having already a bride
in his Art; she a maiden of rarest beauty, and not more lovely than full
of glee; all light and smiles, and frolicsome as the young fawn; loving
and cherishing all things; hating only the Art which was her rival;
dreading only the pallet and brushes and other untoward instruments
which deprived her of the countenance of her lover. It was thus a
terrible thing for this lady to hear the painter speak of his desire to
portray even his young bride. But she was humble and obedient, and sat
meekly for many weeks in the dark, high turret-chamber where the light
dripped upon the pale canvas only from overhead. But he, the painter,
took glory in his work, which went on from hour to hour, and from day to
day. And he was a passionate, and wild, and moody man, who became lost
in reveries; so that he
would
not see that the light which fell so
ghastly in that lone turret withered the health and the spirits of his
bride, who pined visibly to all but him. Yet she smiled on and still on,
uncomplainingly, because she saw that the painter (who had high renown)
took a fervid and burning pleasure in his task, and wrought day and
night to depict her who so loved him, yet who grew daily more dispirited
and weak. And in sooth some who beheld the portrait spoke of its
resemblance in low words, as of a mighty marvel, and a proof not less of
the power of the painter than of his deep love for her whom he depicted
so surpassingly well. But at length, as the labor drew nearer to its
conclusion, there were admitted none into the turret; for the painter
had grown wild with the ardor of his work, and turned his eyes from
canvas merely, even to regard the countenance of his wife. And he
would
not see that the tints which he spread upon the canvas were drawn from
the cheeks of her who sate beside him. And when many weeks had passed,
and but little remained to do, save one brush upon the mouth and one
tint upon the eye, the spirit of the lady again flickered up as the
flame within the socket of the lamp. And then the brush was given,
and then the tint was placed; and, for one moment, the painter stood
entranced before the work which he had wrought; but in the next, while
he yet gazed, he grew tremulous and very pallid, and aghast, and crying
with a loud voice, ‘This is indeed Life itself!' turned suddenly to
regard his beloved:
—
She was dead!
”