some of his figures may seem, however formless the shadows, to him
the outline is as clear and distinct as that of a geometrical
diagram. For this reason Mr. Poe has no sympathy with Mysticism. The
Mystic dwells in the mystery, is enveloped with it; it colors all his
thoughts; it affects his optic nerve especially, and the commonest
things get a rainbow edging from it. Mr. Poe, on the other hand, is a
spectator _ab extra_. He analyzes, he dissects, he watches

"with an eye serene,
The very pulse of the machine,"


for such it practically is to him, with wheels and cogs and
piston-rods, all working to produce a certain end.

This analyzing tendency of his mind balances the poetical, and by
giving him the patience to be minute, enables him to throw a
wonderful reality into his most unreal fancies. A monomania he paints
with great power. He loves to dissect one of these cancers of the
mind, and to trace all the subtle ramifications of its roots. In
raising images of horror, also, he has strange success, conveying to
us sometimes by a dusky hint some terrible _doubt _which is the
secret of all horror. He leaves to imagination the task of finishing
the picture, a task to which only she is competent.

"For much imaginary work was there;
Conceit deceitful, so compact, so kind,
That for Achilles' image stood his spear
Grasped in an armed hand; himself behind
Was left unseen, save to the eye of mind."