The works of Edgar Allan Poe; newly collected and edited, with a memoir, critical introductions, and notes, by Edmund Clarence Stedman and George Edward Woodberry; the illustrations by Albert Edward Sterner.

TALES OF NATURAL BEAUTY

country. The original beauty is never so great as
that which may be introduced. Of course, everything depends on the selection of a spot with capabilities. What is said about detecting and bringing into
practice nice relations of size, proportion, and color,
is one of those mere vaguenesses of speech which
serve to veil inaccuracy of thought. The phrase
quoted may mean anything, or nothing, and guides
in no degree. That the true result of the natural
style of gardening is seen rather in the absence of all
defects and incongruities than in the creation of any
special wonders or miracles, is a proposition better
suited to the grovelling apprehension of the herd than
to the fervid dreams of the man of genius. The
negative merit suggested appertains to that hobbling
criticism which, in letters, would elevate Addison into
apotheosis. In truth, while that virtue which consists in the mere avoidance of vice appeals directly to
the understanding, and can thus be circumscribed in
rule, the loftier virtue, which flames in creation, can
be apprehended in its results alone. Rule applies
but to the merits of denial - to the excellences which
refrain. Beyond these, the critical art can but suggest. We may be instructed to build a 'Cato,' but
we are in vain told how to conceive a Parthenon or
an Inferno. The thing done, however; the wonder
accomplished, - and the capacity for apprehension
becomes universal. The sophists of the negative
school, who, through inability to create, have scoffed
at creation, are now found the loudest in applause.
What, in its chrysalis condition of principle, affronted
their demure reason, never fails, in its maturity of
accomplishment, to extort admiration from their in
stinct of beauty.
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